THE 

CAEEIAGE  PAINTERS' 


ILLUSTEATED  MA^^'UAL. 

CONTAINING 

A  TEEATISE  ON  THE  AET,  SCIENCE,  AND  MYSTEBY  OP 

COACH,  CAPjnAGE,  AND  CAR  rAlXTKO, 

INCLUDINa  THE  LATEST  IMrEOVEMENTS 
IN 

TISE  PAINTING,  GILDING,  BEONZTNG,  STAINING,  TlB- 
NISniNG,  rOLISHING,  COPYING,  LETTERING, 
SCROLLING,  AND  ORNAMENTING, 

VriTU. 

AN  APPENDIX, 

CONTAINING    USEFUL    SUGGESTIONS,    RECEIPTS,    ETC.  ;  A 
LIST  OF  THE  PRINCIPAL  YARNISH  MAKERS  AND 
DEALERS  ;  A  CORRECT  LIST  OP  CARRIAGE 
AND  WAGON-MAKERS  IN  NEW 
YORK  CITY. 

g.iiaplci>  la  lljc  Mmvls  of  (Eficrg  ^ainlsr. 
BY  F.  B.  GAEDNER, 

FHACTICAL  NEW  YORK  COACH  AND  ORNAMENTAL  TAINTEI?. 


NEW  YORK: 
S.  R.  WELLS  &  CO.,  737  BROADWAY. 

1877. 


Entered  according  to  Act  of  Congross.  In  the  year  1871,  fcy 

SAMUEL  WELLS, 
In  the  olUco  of  the  Librarian  of  Congress,  at  Washlngtonu 


PREFACE. 


THIS  book  is  designed  to  present  a  clear 
and  concise  statement  of  the  principal 
methods  employed  in  Fancy  and  Carriage 
Painting ;  and  to  form  a  reliable  Manual 
for  the  experienced  workman,  as  well  as  the 
apprentice.  Having  been  practically  engaged 
in  the  business  since  1850,  and  having  paid 
great  attention  to  the  art,  science  and  mystery 
of  fine  painting,  I  have,  in  common  with 
others,  met  with  many  difficulties,  which 
careful  experiment  and  perseverance  have 
overcome.  Therefore,  in  laying  before  my 
readers  the  results  of  my  own  experience,  it  is 
with  the  hope  that  my  endeavors  to  aid  my 
fellow  craftsmen  will  not  fail  of  appreciation. 


6 


Preface. 


I  will  detail  the  methods  usually  employed 
by  others,  and  the  various  processes  which 
have  appeared  to  me  to  answer  best,  because 
of  their  simplicity,  certainty,  and  economy, 
and  I  will  then  leave  the  reader  to  judge  for 
himself  which  method  is  most  deserving 
of  his  practical  consideration. 

The  Authob. 


TnE  PAII^TEES^  MAITUAL. 

PART  I. 


is  unnecessary  for  me  to  enter  into  details 


X  as  regards  the  equipment  of  the  shop,  for 
that  is  constituted  according  to  circumstances  ; 
suffice  it  then  to  say,  a  paint  shop  should  be 
clean,  tidy,  and  well  lighted. 

The  tools,  colors,  varnishes  and  liquids 
with  which  we  do  our  work  are  of  the  first 
importance,  and  I  will  describe  those  generally 
used  in  first-class  shops,  and  those  which 
experience  has  taught  me  to  be  the  best. 

The  first  tool  which  claims  attention  is  the 
paint  mill.  The  best,  and  one  commonly 
used  by  carriage  painters,  is  Harris'  mill,  manu- 


THE  TOOLS  USED. 


8        The  Painters'  Manual. 


factured  at  Waterville,  New  Tort.  This  is 
made  of  different  sizes,  and  possesses  an 
excellent  feature  in  that  when  the  grinding 
surfaces  are  worn  by  long  use,  they  can  be 
filed  by  any  handy  man  with  a  saw-file  and  a 
round-file,  and  so  made  "as  good  as  new.'* 

The  next  tool  in  order,  is  a  marble  slab,  or 
"  stone,'*  with  its  accompanying  "  muller." 
Besides,  we  have  also  a  medium-sized  palette 
knife,  and  one  or  two  good  putty  tnives,  cups 
for  colors  and  varnishes,  pails,  sponges,  cha- 
mois skin  or  "shammy,"  dusting  -  brushes, 
water-brush  or  tool,  scraping  irons,  and  a 
"burning  off"  furnace.  These  comprise  the 
"rough  "  tools,  and  will  be  found  indispensable 
adjuncts  to  a  well-arranged  paint  shop. 


BRUSHES. 

For  painting  carriage  parts,  and  for  first  coats 
on  bodies,  we  require  bristle  brushe-s.  The 
best  for  the  purpose  are  medium-sized  oval 


The  Painters'  Manual.  9 


varnish  brushes,  as  they  invariably  wear 
better,  and  are  cheaper  than  low-priced 
brushes.  We  also  require  flat  bristle-brushes 
of  various  sizes.  The  small  or  one-inch  ones 
we  will  call  "tools,"  to  be  used  in  cleaning  up 
on  carriage  parts.  The  same  quality  and 
kind  of  brushes  are  used  in  varnishing,  and 
reference  will  be  made  to  these  in  other 
pages. 

All  bristle  brushes  should  be  kept  suspended 
in  water ;  and  the  most  convenient  way  is 
shown  in  the  engraving,  much  better  than  by 
any  written  description  I  might  give. 


\ 


10       The  Painters'  Manual. 


Nails  are  driven  through  the  staves  of  a  tub, 
at  such  a  distance  from  the  bottom  that  the 
water  never  should  be  allowed  to  reach  above 
the  binding  of  the  brushes.  The  brushes, 
when  suspended  by  them,  should  barely  touch 
the  bottom. 

For  fine  colors,  or  last  coats,  f  at  camels'- 
hair  brushes  or  blenders  are  used  ;  these  are 
bound  in  tin,  and  when  new,  care  should 
be  taken  to  tighten  the  hair  by  an  easy 
squeeze  in  a  vice,  of  the  lower  pa-rt  of  the  tin 
binding. 

Several  of  these  brushes  are  required  for 
different  colors  ;  it  being  a  bad  plan  to  change 
them  from  color  to  color, — and  different  sizes 
are  needed,  from  one  inch  to  three  or  three 
and  a  half  inches,  wide  enough  for  the  quarter 
or  back  panels  of  a  coach. 

These  should  be  kept  clean  by  rinsing 
lightly  in  turpentine,  wiping  with  a  rag,  and 
then  being  suspended  in  water,  the  same 
as  bristle  brushes.    Some  painters  hang  their 


The  Painters'  Manual.  11 


brushes  in  turp3ntine,  bat  this  practice  is 
found  to  be  injurious,  as  it  softens  or  rots  the 
hair,  which  breaks  off  in  minute  pieces  when 
coloring  a  panel  or  other  work,  and  causes 
more  or  less  trouble. 


VARNISH  BRUSHES. 

There  exists  among  painters  various  opin- 
ions with  regard  to  varnish  brushes,  some 
contending  that  brittle  brushes  are  best  for 
all  work,  others,  that  fitch  hair  brushes  aro 
best ;  and  others  will  use  none  but  "  Philadel- 
phia brushes."  The  latter  are  bristle,  ground 
to  a  chisel  edge. 

I  will  simply  offer  my  "ideas"  in  this 
matter,  and  leave  the  "  pudding  to  bo  proved 
by  the  eating." 

I  find  the  best  and  most  reliable  varnish 
brushes  to  be  both  bristle  and  fitch-hair. 
For  heavy  work,  such  as  large  panels  on 
clarences,  coaches,  etc.,  I  use  the  best  quality 


12       The  Painters'  Manual. 


of  elastic  bristle  brushes,  made  with  a  chisel 
edge,  but  not  ground.  The  brushmaker  takes 
the  required  quantity  of  bristles  for  a  brush, 
and  draws  back  the  outside  bristles  on  each 
side  of  a  centre  line,  equally  and  evenly, 
forming  a  chisel  or  beveled  edge,  thereby 
leaving  the  split  end  of  the  bristle  on  the 
brush — not  ground  off ;  and  the  consequence 
is,  that  the  brush  is  softer  and  more  elastic 
than  the  other  description  of  brushes.  These 
brushes  can  be  procured  at  the  principal 
brush  stores,  and  you  should  be  careful  in 
selecting  them  ;  for  a  "laid  "  brush  is  worth 
two  of  those  which  are  "ground."  A  set 
from  one  inch  up  to  three  inches  in  width  for 
finishing  coats,  and  another  set  for  American 
or  rubbing  varnish  are  needed  ;  for  it  will  be 
found  that  a  good  job  cannot  be  so  certain,  if 
the  varnish  brushes  are  used  for  every  kind 
and  class  of  work.  Have  a  can  made  to 
mispend  them  in,  as  represented  in  the  ac- 
companying engraving,  mth  a  tight  division 


The  Painters'  Manual.  13 


in  it,  ono  side  being  for  the  finishing  brushes^ 
which  should  be  hung  in  English  varnish,  and 
the  other  for  rubbing  varnish  brushes,  which 
should  bo  hung  in  American  varnish — caro 
being  taken  to  keep  them  always  clean,  and 
never  allowing  a  change  to  be  made. 


FITCII-nAm  VARNISH  BRUSHES. 

I  DO  not  wish  it  to  be  understood  that  but 
one  variety  of  brush  is  required  ;  for  fitch-hair 
brushes  are  indispensable.    "We  do  not  alwayfcj 


14      The  Painters'  Manual. 


Lave  largo  jobs,  or  pub  on  lioavj  varaisli, 
therefore  for  baggies,  small  panels,  or  parts  of 
heavy  worlc,  as  coaches,  landaus,  brebts,  etc., 
it  is  necessary  to  use  those  small  sofb  tools 
•which  lay  the  varnish  so  evenly.  The  best 
quality  sell  for  $1.00  per  inch,  while  a  poor 
imitation — and  one  psrfectly  worthless — can 
bo  had  for  sixty  cents.  Always  purchase  this 
kind  of  brush  from  a  well-known  dealer. 

In  varnishing  carriage  parts,  the  kind  do- 
scribed  for  painting,  will  bo  found  excellent. 
These  may  be  kept  in  the  can  with  the  rub- 
biog-varnish  brushes.  It  is  well  to  havo 
always  at  hand  an  old  brush  to  be  used  on 
touching  up  or  repaired  work.  These  brashes 
also,  should  be  bound  ;  that  is,  have  an  extra 
binding,  extending  over  at  least  one-third  the 
length  of  the  hair,  when  new,  or  they  will  be- 
come "flabby  "  and  not  work  so  well.  A  de 
scription  of  "how  to  bind  a  brush''  is  given 
further  on  in  these  pages. 


The  Painters'  Manual.  15 


STRIPING  PENCILS. 

These  can  be  found  at  any  supply  storo, 
ready  made,  in  quills  of  various  sizes  and  qual- 
ity. B.1j  I  prafjr  making  thorn  myself,  if  for 
fine  lines,  as  they  will  be  cheaper  and  work 
better.  Camel-hair  striping  pencils  arc  good 
enough  for  ordinary  work,  or  broad  lines,  but 
one  should  be  particular  to  select  those  with 
dark-colored,  straight  hair  about  one  and  a 
quarter  inches  long.  These  you  can  cut  to 
make  fine  liners,  or  put  two  together  for 
broader  lines.  Sable-hair  striping  pencils  aro 
considered  best  by  some  painters,  but  I  use 
them  only  for  fine  Hners.  The  flat  pencils 
are  preferable,  a3  you  can  draw  a  longer  line 
before  refilling  the  pencil  with  color,  thereby 
saving  time  in  striping. 


TO  MAKE  A  FLAT  STRIPING  PENCIL. 

Take  a  piece  of  hickory  and  cut  it  in  the 
shape  shown  in  the  engraving  at  C  ;  split  the 


16      The  Painters'  Manual. 


end  carefallj,  as  at  A  ;  cut  two  notclies,  shown 
at  B  ;  then  take  from  a  large  sable-hair  pencil 
the  desired  quantity  of  hair,  and  insert  the 
ends  evenly,  and  thinly  in  the  split.  The  best 
way  is  to  stick  a  pin  into  the  split  to  hold  it 
open,  and  when  the  hair  is  put  in,  pull  out  the 
pin.  The  wood  when  released  will  spring  to- 
gether, and  a  piece  of  thread  tied  around  in 
the  notches  will  hold  all  together  firmly  ;  cut 
the  extreme  point  carefully  with  a  sharp  knife, 
and  the  work  is  finished.  These  pencils  are 
used  by  holding  them  edgewise  to  the  work 
and  allowing  but  one  half  the  length  of  the 
hair  to  touch — a  knack  easily  acquired. 

Ox-hair  pencils  have  been  introduced  lately, 
and  are  found  excellent  for  fine  or  medium 
lines,  where  heavy  color  is  used.  They  are 
made  from  the  hair  which  grows  in  the  ear  of 
an  ox.    They  are  not  expensive,  and  I  advise 


The  Painters'  Manual.  17 


a  trial  of  them.  They  can  be  found  at  almost 
any  carriage-painter's  supply  store. 


ORNAMENTING  PENCILS. 

Ornamenting  pencils  are  bound  in  tin  or 
brass,  with  long  cedar  handles.  The  best  are 
sable-hair,  costing  from  ten  to  fifty  cents,  ac- 
cording to  size.  Some  very  fine  ones  are 
made  expressly  for  painting  ornaments,  crests, 
monograms,  etc.,  on  carriages,  and  will  serve 
many  purposes  on  fine  work. 


LETTERING  TENCILS. 

TnE  best  lettering  pencils  are  of  sable-hair 

and  are  in  quills,  the  same  as  striping-pencils, 

but  the  hair  is  shorter.      Wagner's  black 

sable  pencils "  will  be  found  excellent  and 

not  apt  to     crinkle"  in  heavy  lead  colors* 

Camels'-hair  lettering  pencils  are  well  enough 

for  some  work  or  for  light-bodied  colors,  but 
2 


18       The  Painters'  Manual. 


I  do  not  advise  their  use,  as  the  sables  are  so 
far  superior.  I  have  used  one  of  "  Wagner's  " 
pencils  seven  months,  constantly,  every  day,  on 
soda  and  sarsaparilla  wagons,  milk  and  pedlar 
wagons.  There  is  a  lettering  pencil  now  in 
market  bound  in  tin,  but  I  believe  they  are  no 
better  than  the  quill  pencil. 

Striping  pencils  should  be  well  rinsed  after 
use,  and  well  greased  with  tallow,  (from  a  two- 
cent  candle,)  then  spread  evenly  on  a  piece  of 
glass  and  kept  in  a  box  out  of  the  dust.  Let- 
tering and  ornamenting  pencils  may  be 
greased  and  laid  carefully  away  in  a  box,  and 
when  well  rinsed  in  turpentine  they  will  be 
ready  for  use.  Another  tool  for  striping,  and 
one  which  deserves  particular  notice,  is  a 
"mathematical "  pen.  It  is  generally  adjusted 
to  a  pair  of  dividers  ;  a  beautiful  stripe  can  be 
made  by  it  on  panels,  or  on  any  part  where 
the  dividers  will  work.  The  colors  used  with 
the  pen  must  be  mixed  in  beer,  or  vinegar  to 
which  a  little  sugar  is  added.    Fill  the  pen 


The  Painters'  Manual.  19 


with  a  short-hair  camel  brush.  Do  not  dip 
the  pen  in  the  paint.  A  little  practice  will 
enable  you  to  master  the  art  of  using  this  tool, 
and  no  painter  will  be  without  one  when  he 
has  proved  its  efficacy. 

There  is  a  patent  striping  machine  for  panel 
work,  which  answers  a  very  good  purpose, 
which  was  invented  by  George  Crossingham, 
Croton  Falls,  New  York,  but  it  is  not  yet  in 
general  use. 


PALETTES. 

Fob  lettering  or  ornamenting,  we  use  the 
usual  artists'  palette,  which  can  be  found 
almost  anywhere  in  the  paint  stores.  For 
striping,  I  use  a  palette  made  of  zinc,  that 
metal  being  very  easily  cleaned,  and  always 
presenting  a  smooth  sui^face.  A  piece  four  or 
five  inches  long  and  two  inches  wide,  is  all 
that  will  be  required  ;  and  you  must  never 


20       The  Painters^  Manual. 


heat  it  to  remove  dried  paint,  but  wipe  it  o£P 
after  use,  with  a  rag  and  turpentine. 


Tube  colors,  for  ornamenting  and  striping, 
are  decidedly  the  best.  I  give  below  a  list  of 
those  most  frequently  used.  They  will  dry  in 
twenty-four  hours,  but  if  a  quicker  drying  be 
desired,  a  little  sugar  of  lead  ( which  is  to  be 
had  also  in  tubes)  may  be  added,  which  will 
not  affect  the  colors,  like  most  other  driers. 
A  mixture  of  these  colors  can  be  made  to 
secure  any  desired  shade. 


TUBE  COLORS. 


LIST  OF  TUBE  COLORS. 


Asphaltum, 
Antwerp  Blue, 
Blue  Black, 
Bone  Brown, 
Bitumen, 


Carmine, 


Vermilion, 
Light  Ked, 
Indian  Ked, 


Venetian  Bed, 


The  Painters'  Manual.  21 


Brown  Oohro, 

Yellow  Ochre, 

Burnt  Koman  Ochre, 

Burnt  Sienna, 

Burnt  Terraverde, 

Eaw  Sienna, 

Chrome  Yellow, 

Burnt  Umber, 

Chrome  Green, 

Raw  Umber, 

China  White, 

Madder  Lake, 

Chinese  Vermilion, 

Ivory  Black, 

Flake  White, 

Verdigris, 

Cremnitz  White, 

Vandyke  Brown, 

Snow-White, 

Emerald  Green, 

Indigo, 

Ultramarine, 

Italian  Pink, 

Prussian  Blue, 

Kings  Yellow, 

Chinese  Blue, 

Naples  Yellow, 

Terraverde, 

Olive  Lake, 

Yellow  Lake, 

Munich  Lake, 

Sugar  of  Lead, 

Drop  Lake, 


and  fifty  other  colors,  which  can  be  found  in 
the  catalogues  of  supply  stores  ;  but  the  above 
are  those  principally  desired. 


22       TuE  Painters'  ManUxVL. 


ORDINARY  COLORS. 

First  on  the  list  of  colors,  is  White  Load, 
from  the  fact  that  it  forms  the  base  or  foun- 
dation of  all  onr  work.  There  are  but  two 
brands  which  I  can  recommend  with  confi- 
dence. Jowett*s  ( Am. )  and  Atlantic  (Am.). 
These  brands  will  be  found  of  uniform  quality, 
and  as  good  lead  goes  farther  than  common 
or  low-priced  lead,  it  is  cheaper  in  the  end. 
I  shall  use  the  term  "  keg  lead,"  when  speak- 
ing of  this  color  in  these  pages,  to  distinguish 
it  from  dry  white  lead,  which  is  used  often, 
and  is  an  excellent  article  for  many  purposes 
where  we  do  not  desire  oil. 

Keg  lead  is  used  pure  for  first  coats  or 
priming  on  all  our  work,  and  is  mixed  with 
raw  Imseed  oil  only.  We  mix  the  paint  quite 
thin,  as  it  is  our  desire  to  fill  the  grain  of  the 
wood,  rather  than  plaster  a  thick  coating 
of  paint  on  the  surface.  When  white  is  used 
as  a  color — as  on  stages,  express,  or  pediers* 


The  Painters^  Manual.  23 


wagons, — mix  the  keg  lead  with  turpentine, 
adding  a  little  rubbing  varnish  to  bind  tho 
paint  and  assist  in  drying ;  a  little  oil  may  be 
also  added  when  great  durability  is  aimed 
at. 


OTHER  TRIMARY  COLORS. 

Lampblack,  Crimson  Lake, 

Drop,  or  Ivor}'  Black,  Yellow  Lake, 
Prussian  Blue,  Scarlet  Lake, 

Paris,  or  French  Green,  Carmine, 
Ultramarine,  Dutch  Pink, 

Eose  Pink,  Turkey  Umber,  Eaw 

Chrome  Green,  and  Burnt. 

Indian  Red,  Italian   Sienna,  Eaw 

Emerald — dark  Green,     and  Burnt. 
Eed  Lead,  Trieste, 
Chrome  Yellow,  Clynese  Blue, 

Engl.  Vermilion,  deep,  Chinese  Vermilion, 

light,  Venetian  Eed, 
Orange  yellow,  English  Filling, 


24       The  Painters'  Manual. 


American  Vermilion, 
Munich  Lake, 
Drop  Lake, 
Florentine  Lake, 
&c.,  &c.. 


Ked  Lead  (Eng.) 
Metallic  Paint, 
Yellow  Oolire, 
Vandyke  Brown, 
&c.,  &c.. 


GRINDING  BLACK. 

It  is  the  usual  plan  to  grind  drop  or  ivory 
black,  when  mixed  with  Japan  or  rubbing 
varnish,  but  I  frequently  mix  that  color  when 
I  wish  to  have  it  extra  fine,  as  follows  : 

Mash  up  the  lumps  on  the  "stone,"  and 
mix  with  turpentine  to  the  consistency  of 
thick  paste  ;  put  it  in  the  mill,  add  a  very 
little  Japan,  and  grind  the  mixture  as  fine  as 
the  mill  will  work.  Then  add  a  little  rubbing 
varnish  to  bind  the  color  well,  and  it  will  be 
found  a  very  excellent  working  color. 

My  theory  for  this  method  of  mixing  black 
is,  that  turpentine  being  very  volatile,  is 
absorbed  by  every  small  grain  of  black,  and 


The  Painters'  Manual.  25 


consequenity  softens  the  same,  so  that  it  grinds 
to  an  "  impalpable  "  liquid  ;  while  color  mixed 
with  Japan  or  varnish  is  not  softened,  but  a 
slimy  material  is  produced,  which  merely 
covers  the  fine  grains,  and  they  are  not  dis- 
solved, as  by  turpentine.  This  plan  is  easily 
tried,  and  if  you  do  not  agree  with  me  I  very 
much  mistake. 

Always  bear  in  mind  that  colors  must  be 
mixed  with  Japan,  varnish  or  oil,  to  bind  the 
paint ;  while  turpentine  is  used  chiefly  as  a 
vehicle  to  enable  the  color  to  be  spread  evenly 
and  smoothly. 

In  mixing  ultramarine  blue  with  oil,  it  will 
frequently  bo  found  to  "crawl"  or  "run;" 
this  can  be  obviated  entirely  by  adding  a  few 
drops  of  water  or  spittle  to  the  mixture,  which 
causes  it  to  take  the  form  of  a  paste,  and  pre- 
vents any  further  "running"  or  "crawling." 
Ultramarine  is,  I  believe,  the  only  color  so 
affected,  and  it  is  also  the  worst  color  to  "run," 
notwithstanding  it  is  one  of  the  "  trio  " — red. 


26      The  Painters'  Manual. 


white,  and  blue, — wliicli  are  saiil  to  7iever 
"run." 

TO  rPvEVENT  VERMILION  FROM  FADING. 

English  Vermilion  slioulcl  be  mixed  wiih 
nibbing  varnisli  and  oil,  instead  of  Japan,  as 
tlie  latter  lias  a  tendency  to  injure  the  color. 

Light  English  Vermilion  is  used  for  striping 
and  ornamenting  or  lettering  ;  the  deep  ver- 
milion having  less  body,  will  not  cover  good. 

Vermilion  is  well  known  to  fade  or  turn  a 
blackish  brown  ;  this  can  be  obviated,  and  the 
color  preserved  for  a  long  time,  by  adding  to 
the  dry  color  before  mixing,  one- eighth  part 
of  flowers  of  sulphur,  w^hich  can  be  obtained 
at  any  drug-store.  The  old  masters  used  this 
secret  in  their  paintings,  and  their  colors  are 
known  to  stand  the  wear  of  years. 

American  Vermilion  should  never  be  ground, 
as  the  process  would  change  it  to  an  orange 
color ;  while  green,  Indian  red,  chrome-yellow. 


The  Painters'  Manual.  27 


and  all  lieavy  body  colors  are  better,  if  ground 
as  fine  as  possible.  Raw  oil  is  preferable  to 
boiled  ;  it  being  more  volatile,  penetrates  tlie 
pores  of  wood  better,  and  forms  a  harder  and 
more  durable  surface  for  the  succeeding  coats. 


TREPARED  COLORS. 

I  WOULD  here  call  the  attention  of  the  reader 
to  the  prepared  colors  of  Masury  and  Whiton, 
Globe  Lead  Works,  of  New  York.  These 
colors  are  mixed  in  Japan  or  varnish,  and 
ground  very  fine  ;  they  dry  very  quickly  and 
"dead."  Having  used  the  ivory  black,  pre- 
pared by  the  above  firm,  I  can  recommend 
it  as  superior  to  anything  else  of  the  kind  I 
ever  tried.  These  colors  are  prepared  ex- 
pressly for  carriage  painters,  and  every  color 
desired  can  bo  obtained  at  the  principal  stores, 
in  cans  or  pails,  ready  for  use.  For  painters 
who  have  no  conveniences  for  grinding  cr 
mixing  colors,  they  will  prove  of  great  value. 


28       The  Painters'  Manual. 


COMBINATION  OF  COLORS. 


The  various  shades  and  tints  whicli  can  be 
produced  bj  mixing  different  colors  are  so 
numerous,  that  I  will  curtail  my  remarks  on 
this  subject,  preferring  to  leave  the  reader  to 
discover  by  experiment  desired  shades,  as  the 
knowledge  thus  obtained  will  be  of  greater 
use  and  value  than  any  written  rule.  The 

strength  "  of  colors,  also,  varies,  so  that  no 
particular  quantity  of  each  can  be  safely 
advised.  However,  to  aid  the  amateur,  the 
following  suggestions  may  be  of  service. 

Lead  colors    Keg  Lead  and  Lampblack. 

Fearl    **  **  Prussian  Blue  and  Red, 

Salmon**  **  Blue,  Yellow  and  Red. 

Drab    "  **  Yellow  Ochre  and  Black. 

French  Gray,  "  Black,  Blue,  and  Red. 

Fea  Green,  "  Chrome,  or  Paris  Green. 

Slate  color,  "  Black,  Red  and  Blue. 

Cream  "  **  Yellow  and  Red. 

Straw    *  **  Yellow. 

Fawn   **  "  Ochre  and  Vermilion. 


Tee  Painters'  Manual.  2& 


Peach-hlossom,  Keg  Lead,  &  American  Vermilion. 
Purple  color,  Blue  and  Eed. 

Eose     **  *'  Carmme  or  Lake. 

Silver  Graij,  **  Blue  and  Black. 

The  above  are  all  mixed  with  keg  lead  for  a 
base,  and  the  colors  added  to  suit  the  taste  of 
the  painter. 

Brown,  Indian  Red  and  Black  or  Blue. 

**  Venetian  Red  and  Lampblack. 

Dark  green,  Lampblack  and  Chrome  Green. 

Orange,  Red  and  Yellow. 

Grass  green,  Green  and  Blue. 

Olive,  Red,  Green,  or  Black,  Yellow  and  RoiL 

Snuff-colort  Yellow,  Sienna  and  Red. 


PAKT  II. 
CAEEIAGE  PAINTINa. 


FOUNDATION. 

To  illustrate  clearly  the  method  of  painting 
a  new  carriage,  we  will  take  a  buggy  and  carry 
it  through  its  various  stages  from  the  smith- 
shop  to  the  trimming-shop,  and  finish  it  for 
the  repository  ;  and  here  I  would  remark  that 
the  process  will  be  the  same  for  heavy  work, 
such  as  coaches,  clarences,  broughams,  bretts, 
rockaways,  etc.,  with  the  exception  that  on  the 
latter  class  of  work  we  must,  to  insure  good 
work,  put  on,  perhaps,  more  paint  in  the  foun- 
dation, as  the  style  and  finish  are  superior  and 
the  work  in  general  is  expected  to  wear  longer 
than  light  buggy  work. 

The  body,  having  been  finished  by  the  body- 


The  Painters'  Manual.  31 


maker,  is  brought  to  the  paint  shop.  We  dust 
it  thoroughly  to  remove  all  saw-dust  and  dirt, 
and  proceed  to  coat  it  with  priming.  See 
page  34.  Every  nail-hole  and  crack  is  well 
filled,  and  the  priming  well  rubbed  into  tho 
grain  of  the  wood.  For  this  work  a  well- 
bound  brush,  or  a  brush  partly  worn,  is  best. 
Clean  out  all  corners  with  a  small  stiff  brush, 
leaving  no  patches  of  paint  on  any  part  of  the 
job.  The  wheels,  beds,  bars,  shafts,  etc.,  of 
the  carriage  part  being  at  hand,  we  give  them 
a  coat  of  the  priming  also,  and  they  are  then 
ready  for  the  blacksmith.  The  body  will  re- 
quire more  paint,  and  while  the  smith  is  "iron- 
ing "  the  running  part  we  will  "  fill  up "  the 
body. 

Three  or  four  days  having  passed  since  we 
"  primed  "  the  body,  we  sandpaper  it  lightly 
to  smooth  the  grain  and  remove  any  lumps  of 
lead,  with  No.  2J  sandpaper  ;  then  put  on  a 
smooth,  even  coat  of  No.  1  lead  (See  Page  22), 
set  aside  to  dry  hard,  and   perhaps  in  two 


32       The  Painters'  Manual. 


days  this  coat  will  be  hard  enough  to  "  putty 
up."  (See  Putty,  page  35).  When  the  putty 
is  dry,  sandpaper  again  ;  dust  well  and  apply 
paint  No.  2  (page  65).  Allow  this  to  dry, 
then  putty  up  all  the  small  holes,  cracks  and 
imperfections,  plastering  over  with  soft  putty 
every  part  where  the  grain  is  course  or  very 
open.  After  the  body  has  stood  long  exough 
to  dry,  paint  No.  3  is  then  next  in  order. 

A  great  deal  depends  on  the  paint  being 
perfectly  dry  before  another  coat  is  put  on, 
and  therefore  give  all  the  time  possible  be- 
tween each  coat.  The  third  and  fourth  coat 
of  lead  having  been  put  on,  everything  puttied 
up  smooth,  and  all  dry,  we  are  ready  for  the 


ROUGH  STUFF. 

Some  painters  use  yellow  ochre  for  a  rough 
stuff;  others,  mineral  or  fire-proof  paint,  and 
others  still,  English  filling  (ground  slate).  I 
prefer  the  latter,  mixed  as  follows  : 


The  Painters'  Manual.  33 


Take  three  parts  of  filling,  two  parts  dry 
white  lead,  one  part  keg  lead ;  mix  with 
Japan  two  parts,  rubbing  varnish  one  part ; 
dilute  with  turpentine  ;  and  run  these  compo- 
nents through  the  mill  to  crush  the  lumps  and 
thoroughly  mix  them. 

Three  coats  of  this  is  now  put  on  the  princi- 
pal parts  of  the  body,  each  coat  being  allowed 
time  to  dry  hard.  (For  heavy  work  I  advise 
more)  ;  then,  to  enable  us  to  see,  w^hen  rub- 
bing, that  the  surface  is  level,  we  "  stain " 
the  whole  with  lampblack  mixed  in  Japan 
and  turpentine. 

Yellow  ochre  rough  stuff,  when  looked  at 
with  a  microscope,  after  being  rubbed,  pre- 
sents a  porous  appearance  like  the  end  of  a 
piece  of  rattan,  which  shows  the  cause  of 
varnish  "flattening"  or  striking  in  on  many 
jobs ;  yet,  there  are  jobs  done  with  this 
pigment  used  as  a  filling  where  no  imperfec- 
tions can  be  found  in  the  finish.  English 

filling  forms  a  slate-like  surface,  perfectly 
3 


34      The  Painters^  Manual. 


solid,  and  years  of  use  have  proved  it  to  be 
about  the  best  filling. 

The  body  being  now  ready  for  ironing,  we 
will  look  at  the  foundation  coats,  and  sec  how 
they  are  mixed. 


PRIMING. 

Mix  teg  lead  to  the  consistency  of  milk — 
country  milk — with  pure  raw  oil. 

No.  1,  OR  First  Coat  of  Lead. — Mix  keg 
lead  with  raw  oil  two  parts,  Japan  one  part, 
to  make  it  proper  for  a  thick  coat,  adding  a 
very  little  turpentine  to  allow  it  to  work 
easily.  For  carriage  parts  add  a  little  lamp- 
black, but  not  for  bodies. 

No.  2,  OR  Second  Coat  op  Lead. — Mix  keg 
lead  with  one  part  raw  oil  and  two  parts 
Japan,  and  a  little  turpentine,  as  before, 
adding  lampblack  for  carriage  part,  but  none 
for  the  body. 

Nos.  3  AND  4,  OR  Third  and  Fourth  Coats. — 


The  Painters'  Manual. 


35 


Mix  keg  lead  into  a  thick  paste  witli  turpen- 
tine, add  a  little  oil,  Japan  and  rubbing  var- 
nish to  bind  the  paint  well ;  add,  for  tbo 
carriage  part,  a  little  lampblack,  and  if  handy, 
a  little  red  lead,  which  will  make  it  sandpaper 
nicely. 


HAKD  DRYING  PUTTY. 

Mix  dry  white  lead  with  Japan  and  rubbing 
varnish  equal  parts,  to  the  proper  consistency, 
beating  it  well  with  a  mallet  to  thoroughly 
mash  the  lumps.  Keep  it,  when  not  in  use, 
in  water,  to  prevent  it  from  drying. 

If  it  be  necessary  to  put  on  more  paint  to 
properly  fill  the  grain  of  the  carriage  part, 
the  Nos.  3  and  4  will  answer  all  purposes. 
These  lead  colors  should  all  be  ground  as  fine 
as  possible  ;  they  will  then  fill  up  the  wood 
better  and  go  farther,  besides  necessitating 
less  sandpapering. 

The  buggy  having  now  arrived  from  the 


36       The  Painters'  Manual. 


smitli-sliop,  we  will  "  strip  the  job,"  i.  e,,  tate 
off  the  body,  remove  the  loops,  dash,  steps> 
and  foot-rail,  and  prepare  to  rub  the  body 


OUT  OF  ROUGH  STUFF. 

This  is  done  by  rubbing  the  surface  with 
lump  pumice  stone  and  water.  Here  I  would 
call  the  reader's  attention  to  a  prepared  stone 
for  rubbing  made  into  cakes  of  convenient 
size  and  shape,  and   of  various  degrees  of 

grit."  I  have  used  it  and  find  it  r.n  excel- 
lent article.  The  maker's  name  is  forgotten, 
but  it  can  be  found  at  the  principal  stores. 

The  pumice  stone  having  been  cut  with  an 
old  saw  and  filed  level,  or  into  various  shapes, 
we  proceed  with  the  rubbing,  keeping  tho 
surface  well  wet  with  water,  as  the  stone  cuts 
faster  and  is  less  liable  to  scratch,  when  plenty 
of  water  is  used. 

Take  care  not  to  rub  more  than  is  sufficient 
to  take  off  all  the  stain  ;  wash  off  clean  witli 


The  Painters'  Manual.  37 


cold  water,  and  dry  thoroughly.  It  is  very 
probable  that  small  dents  or  scratches  will  be 
found  in  the  surface,  and  to  make  sure  of  a 
perfect  foundation  for  the  color,  we  will  pre- 
pare some 

FACING  LEAD. 

Mix  dry  white  lead  with  two  parts  Japan, 
one  part  rubbing  varnish,  and  thin  with  tur- 
pentine, adding  a  little  lampblack  to  make  a 
clean-looking  lead  color.  Grind  as  fine  as 
possible,  rub  the  body  off  lightly  with  No.  1 
sandpaper,  dust  well,  and  apply  the  facing 
lead  with  a  camels'-hair  brush,  laying  the 
paint  on  evenly  and  quickly.  When  dry, 
which  will  bo  in  five  or  six  hours,  go  carefully 
over  with  soft  putty  and  fill  all  scratches  or 
imperfections  perfectly.  Allow  all  to  harden  ; 
then  with  the  finest  pieces  of  pumice  stone 
gentiy  rub  or  "  face  it  down  wash  off ;  clean 
out  the  corners,  and  the  body  is  ready  for 
coloring. 


38       The  Painters^  Manual. 


The  irons  of  the  body,  such  as  steps,  loops, 
&c.,  are  also  ready  for  color,  having  been  pre- 
viously leaded. 


THE  CARRIAGE  OR  RUNNING  PARTS. 

Take  No.  2J  sandpaper  and  cut  down  every 
part  of  the  carriage,  until  there  appears  to  be 
nothing  but  the  new  wood  and  iron  left,  taking 
care  not  to  cut  the  corners  of  the  spokes,  bars, 
etc.  By  this  means  you  remove  every  particle 
of  blacksmith  smoke,  dirt  and  grease,  and  will 
provide  against  trouble  in  future  ojperations. 

The  lead  color  No.  1  is  now  put  on,  using 
the  oval  brushes  and  tool the  latter  being 
used  to  wipe  around  nuts,  between  spokes 
and  springs.  Allow  time  for  drying,  and  then 
putty  up  all  the  large  holes  ;  sandpaper  and 
apply  No.  2  (page  65).  Bepeat  this  process 
until  the  third  and  fourtii  coats  are  hard  and 
dry ;  then  with  partly  worn  sandpaper  pre- 
pare it  for  the  color. 


The  Painters^  Manual.  39 


COLORING  CARRIAGE  PART. 

Let  us  suppose  carmine  to  be  the  color 
desired.  We  mix  a  preparation  or  ground 
color  for  vermilion,  L  e,,  keg-lead  and  American 
vermilion  to  a  light  pink  color,  with  Japan, 
varnish  and  turpentine,  grinding  very  fine  and 
laying  on  with  a  camels'-hair  brush.  When 
dry  we  put  on  deep  English  vermilion,  and 
when  that  coat  of  "  dead  color "  is  dry,  add 
sufiicient  rubbing  varnish  to  make  coloring 
varnish,  and  apply  a  heavy  coat.  This,  when 
dry,  is  to  be  rubbed  with  pulverized  pumice 
stone  and  water,  using  a  thick  woolen  cloth 
for  a  rubber.  Wash  off,  dry  well  with  a 
"  shammy,"  and  if  it  is  to  be  striped  black, 
we  will  stripe  it  before  putting  on  the  car- 
mine. 

The  striping  being  finished  (a  double  fine 
line  of  black),  mix  French  carmine,  No.  40, 
with  English  hard  drying  varnish,  and  grind 
as  fine  as  possible.    Then  add  more  varnish, 


0       The  Painters'  Manual. 


that  the  color  be  not  too  strong  ;  and  apply 
with  a  fitch-hair  brush.  The  English  varnish 
will  require  at  least  forty-eight  hours  to  dry, 
unless  a  little  gold  size  has  been  added,  and  as 
we  have  already  gone  ahead  a  little  too  fast, 
we  will  look  at  the  body.  This  we  will  sup- 
pose to  have  had  a  good  coat  of  preparation, 
i,  e,  lampblack,  a  good  coat  of  ivory  black,  and 
a  coat  of  black  coloring  varnish. 

Black  coloring  varnish  can  be  made  by 
adding  "  dead  color to  rubbing  varnish,  but 
a  far  superior  article  can  be  obtained  from 
Messrs.  Smith,  Baldwin  and  Company,  of  New 
York.  This  firm  furnishes  a  black  coloring 
varnish,  made  with  English  ivory  black,  and 
their  rubbing  varnish  ;  it  dries  quickly,  sets 
conveniently,  and  is  by  far  the  best  article  in 
the  market.  Use  a  fitch-hair  brush  to  put  on 
the  coloring  varnish.  The  body  and  carriage 
part  are  now  in  coloring  varnish,  and  the  car- 
riage part  is  glazed  with  carmine.  We  will 
now  give  the  body  two  coats  of  rubbing  var- 


The  Painters'  Manual.  41 


nish,  rubbing  with  fine  pumice  stone  between 
each  coat,  and  the  trimmer  can  then  put  in  the 
seat  linings,  etc. 


VARNISHING. 

The  varnish-room  should  be  well  cleaned, 
walls  dusted,  floor  well  wet,  and  if  the  weather 
is  cold,  a  temperature  of  seventy-five  or  eighty 
degrees  maintained  by  a  clean  tight  stove,  or 
what  is  better,  steam-pipes.  The  carriage 
part  and  body  having  now  been  nicely  rubbed 
down  and  well  cleaned,  we  begin  with  the 
carriage  part.  Kaising  all  the  wheels  from  the 
floor  by  two  boxes  or  barrels  placed  under  the 
axles,  we  prepare  the  varnish  and  brushes. 
American  finishing  varnish  is  good  enough 
for  this  part,  and  with  our  oval  varnish  brush 
and  flat  "  tool "  we  take  our  position  in  front 
of  the  wheel  with  our  left  hand  on  the  rim  to 
turn  it ;  with  the  "  tool  "  we  spread  the  varnish 
heavily  between  the  spokes,  and  up  the  front 


42       The  Painters^  Manual. 


as  far  as  the  V  shape  of  spokes  extend  ;  then 
with  the  large  brush  we  lay  on  an  abundance 
of  varnish  on  the  side  of  the  spoke  nearest 
our  left  hand,  then  opposite,  and  then  reach 
over  and  cover  the  back. 

Now  wiping  out  all  the  varnish  in  the  brush 
on  the  edge  of  the  cup,  we  repeat  the  opera- 
tion with  the  dried  brush,  laying  off  the 
varnish  smoothly  and  removing  the  bubbles. 
Next  we  varnish  the  hub,  and  wipe  with  the 
"  tool "  around  the  "  butt "  of  the  spokes  ; 
then  varnish  the  inside  of  the  rim  between  the 
spokes,  finishing  the  back  and  front  sides  last. 
We  keep  the  wheel  turning  for  a  moment 
or  two  until  the  varnish  flows  evenly,  and 
proceed  with  the  other  wheels  in  the  same 
manner,  finishing  the  springs,  axles,  etc.,  lastly. 

The  body  is  next  looked  after.  Taking  our 
body  finishing  brushes  (the  fitch  hair  brushes 
are  best  for  the  buggy),  and  for  finishing 
bodies  I  prefer  Noble  &  Hoare's  hard-drying 
varnish  and  Harland's  wearing  body-varnish, 


The  Painters'  Manual.  43 


mixed  in  equal  parts,  we  begin  with  the 
inside — for  which  we  should  have  a  pair  of 
brushes  and  a  cup  expressly.  In  laying  on  a 
heavy  coat,  we  level  it  off  nicely,  leaving  the 
brush  marks  faintly  perceptible  up  and  down 
the  panels,  always  leaving  the  work  before 
it  begins  to  set. 

The  outside  we  next  look  after,  and  flow 
the  varnish  on  very  heavily,  but  as  evenly 
as  possible.  We  lay  off  from  end  to  end,  then 
across  from  bottom  to  top,  and  repeat ;  wiping 
out  the  brush  on  the  cup,  and  leave  the  panel 
with  the  last  movement  up  and  down.  We 
clean  out  under  the  mouldings  with  a  small 
brush,  and  bear  in  mind  that  a  heavy  flow 
must  be  wiped  upward,  never  down.  Having 
been  all  over  the  body,  with  a  piece  of  whale- 
bone— which  should  be  at  hand,  one  end  being 
sharpened  to  a  point — we  go  over  the  work, 
picking  out  any  hairs,  dust,  etc.,  and  then 
close  up  or  darken  the  room  and  leave  the  job 
to  dry. 


1 


4.4       The  Painters'  Manual. 


In  cleaning  a  body  preparatory  to  varnisli- 
ing,  I  find  it  an  excellent  plan  to  use,  after 
dusting  with  tlie  dusting-brush,  a  piece  of  silk 
(an  old  sun  curtain  for  instance,)  dampened 
with  sweet  oil.  With  this  I  gently  wipe  the  job 
over,  but  not  enough  to  grease  the  surface, 
and  it  removes  every  little  particle  of  dust  or 
lint  left  by  the  shammy  and  duster. 


VARNISHES. 

There  is  no  class  of  people  more  pestered 
with  peddlers,  if  I  may  so  term  them,  than 
carriage-makers  are  with  varnish  agents. 
Every  few  days  an  agent  of  this  sort  makes  his 
appearance,  and  sometimes  proves  an  intole- 
rable bore.  I  do  not  frown  upon  the  enter- 
prise and  go-a-head-a-tive-ness  of  the  agent  or 
his  employers,  for  such  a  spirit  is  well  enough  ; 
but  I  have  frequently  had  occasion  to  object  to 
the  perseverance  of  such  men  in  seeking  the 
foreman,  after  a  denial  from  the    boss,"  and 


The  Painters^  Manual.  45 


trymg  sometimes  by  bribery,  to  get  bim  to 
assist  with  his  influence  in  introducing  the 
vaunted  varnish.  Some  bosses,  to  get  rid  of 
the  agent,  order  varnish  ''for  trial,"  and  the 
workman  then  has  to  run  the  risk  of  spoiling 
his  job  ;  for  being  unacquainted  with  the  var- 
nish— and  all  varnishes  manufactured  by  dif- 
ferent makers  have  their  respective  peculiar- 
ities— he  goes  at  the  work  mth  more  or  less 
nervousness  and  hesitancy,  and  is  almost  cer- 
tain to  turn  out  a  poor  job. 

Always  "let  well  enough  alone,"  if  you  have 
good  varnish  and  know  how  to  use  it ;  let  the 
new  man,  with  his  new  varnish,  negotiate  with 
some  new  shop,  where  new  work  is  done,  by  new 
hands. 

I  do  not  wish  to  be  understood  as  taking  a 
stand  against  improvement,  but  as  a  general 
thing,  there  are  too  many  changes  with  regard 
to  varnish  made  in  many  shops.  Neither 
would  I  speak  disparagingly  of  varnish  manu- 
facturers, but  would  give  all  a  fair  show.  Ijet 


4:6       The  Painters'  Manual. 


those,  liowever,  who  prefer  one  maker's  goods 
patronize  him.  "Each  one  to  his  taste."  I 
echo  the  sentiments  of  a  score  of  painters,  and 
should  not  be  judged  harshly  therefor. 

I  have  a  preference  for  varnishes,  and  will 
without  fear  or  favor  state  that  in  the  twenty 
years'  experience  which  I  have  had,  I  have 
never  used  varnish  on  which  I  could  place  so 
,much  reliance  as  that  made  by  Smith,  Bald-^ 
win  &  Co.  This  is  no  advertisement  para- 
graph,  but  the  honest  conviction  of  the  author, 
and  should  there  be  those  in  the  fraternity 
dissatisfied  with  the  varnish  which  they  have 
been  using,  I  ask  them  to  prove  for  themselves 
my  words. 

There  are  different  opinions  existing  as  re- 
gards the  necessary  qualities  of  varnishes — 
some  preferring  a  quick-setting  varnish,  and 
others,  a  slow-setting  one  to  enable  them  to 
"lay  off"  well ;  consequently  each  must  try  for 
himself.  The  rubbing  varnish  made  by  the 
house  just  mentioned  dries  hard  and  quickly, 


TuE  Painters'  Manual.  4-7 


leaving  an  excellent  surface  to  rub  on ;  while 
their  finishing  varnish  has  a  brilliant  gloss,  and 
can  be  laid  on  as  easily  as  one  could  desire. 

Messrs  S.  B.  &  Co.'s  coloring  varnish  I 
have  already  mentioned,  though,  I  repeat,  that 
I  have  never  seen  its  equal. 

In  re-varnishing  old  work  it  is  net  well  to 
put  English  on  the  old  surface,  it  being  apt  to 
"  crawl "  or  "  pit,"  therefore  I  invariably  use 
the  above  American  varnish  first,  and  finish 
with  Wearing  English. 

A  newly  finished  job  should  always  be 
washed  with  clear  cold  water,  and  dried  with 
a  clean  shammy,  before  allowing  it  to  leave  the 
paint  shop  ;  this  hardens  the  surface  and  pre- 
vents the  dust  from  sticking  to  it. 

If  varnish  is  found  to  "crawl,"  wipe  the 
surface  with  a  damp  shammy.  Never  dilute 
varnish  with  turpentine,  as  it  kills  the  gloss. 
If  too  thick,  warm  it  by  the  stove  or  place  the 
cup  on  a  warm  iron. 


48       The  Painters'  Manual. 


POLISHING. 

Polishing  on  carriages  is  now  among  tho 
things  of  the  past ;  but  to  describe  tbe  method 
will  not  be  amiss,  perhaps. 

Finish  your  job  as  smoothly  and  cleanly  as 
possible  with  American  finishing  varnish,  and 
let  it  stand  at  least  ten  days  ;  then  rub  down 
with  pumice-stone  the  same  as  if  a  rubbing 
coat ;  clean  off,  and  rub  again  with  rotten 
stone  ground  fine,  until  the  marks  of  the  pum- 
ice-stone are  all  obliterated  ;  next  rub  with 
rotten  stone  and  oil  until  a  gloss  appears. 
Then  substitute  Spanish  whiting  for  the  rotten 
stone  ;  this  should  be  washed,  i.  e, : 

Mix  the  whiting  in  a  pail  of  water,  until  like 
milk  :  let  it  settle  a  moment  to  get  the  stones, 
dirt  or  lumps  out ;  pour  off  the  milky  liquid 
into  a  clean  pan,  and  let  it  settle  thoroughly  : 
pour  off  the  clear  water  and  dry  the  sediment ;. 
it  will  be  an  impalpable  powder,  and  mixed  with 
the  sweet  oil  will  produce  a  good  polish  on  the 


The  Painters'  Manual.  49 


panel.  Clean  all  off  with  soft  silk,  and  you 
have  a  glossy  surface,  superior  to  varnish  in 
point  of  wear — but  not  in  looks. 

Fancy  boxes  may  be  polished  in  this  way, 
and  are  better  than  varnished  surfaces.  Fur- 
niture, pianos  and  fancy  articles  are  generally 
polished,  and  there  are  preparations  to  be  had 
at  furniture  stores  for  re-polishing,  wliich  an- 
swer a  very  good  purpose. 


TAINTING  COACHES,  ETC. 

The  modus  operandi  of  painting  heavy  jobs 
differs  but  little  in  the  foundation  coats  from 
light  work  :  therefore  I  will  not  enter  into  de- 
tails with  regard  to  it.  The  workman  must  be 
more  particular  with  this  work,  but  one  who 
can  paint  a  buggy  well  should  be  able  to  get  up 
a  good  job  on  heavy  work.  Confidence  in 
your  abilities  is  one  half  the  battle. 

The  panels  of  such  work  are  generally  painted 

in  colors,  while  the  pillars,  top-strip,  quarters, 
4 


60       The  Painters'  Manual. 


deck,  etc.,  are  always  black.  Umbar  colors, 
lakes,  greens,  and  blues  are  some  of  the  best 
<5olors  used  on  this  work.  To  prepare  the  body 
for  any  of  these  colors,  we  should  use  a 
ground  color  in  the  place  of  lampblack  on  black 
work. 

The  following  are  a  few  of  the  grounds  most 
approved. 

Lake. — Indian  red  and  vermilion  mixed  to  a 
dark  brown,  though  some  prefer  a  black 
ground  for  lake. 

Lake  should  never  be  mixed  to  dry  *  dead,' 
but  with  a  subdued  appearance,  by  puttmg  in 
varnish  enough.  The  best  way  is  to  try  it  on 
a  board  before  laying  on.  If  "  deai,"  it  loses 
one-half  its  brilliancy,  and  will  be  apt  to  be 
cloudy. 

Ultramarine. — ^]\Iix  a  medium  blue  with  keg 
lead  and  Prussian  blue. 

Vermilion. — A  light  pink  color  is  generally 
used  as  a  ground  for  vermilion,  but  if  a  pure 
white  ground  is  gotten  up  from  the  beginning. 


The  Painters'  Manual.  61 


you  will  find  the  color  to  cover  well,  txnd  lose 
none  of  its  pristine  beauty.  Don't  forget  to 
pnt  flower  of  sulphur  into  your  vermilion, 
as  spoken  of  on  page  26,  to  presv^rve  the  color. 

Green. — Green  and  all  heavy-bodied  colors 
will  cover  well  on  the  lead  color  without  any 
ground  color. 


TO  PAINT  PANELS  CARMINE. 

To  make  a  good  job  with  carmine,  we  should 
get  up  an  English  vermilion  ground,  into 
coloring  varnish,  well  rubbed  down  with 
pumice  stone  ;  for  we  cannot  rub  a  great  deal 
after  the  job  is  glazed.  Some  painters  mix 
their  carmine  glazing  with  rubbing  varnish 
and  oil,  but  you  will  find  such  jobs  frequently 
"  spotted  the  best  way  is  to  mix  in  English 
varnish,  adding  a  little  gold  size  for  a  dryer ; 
this  flows  evenly  and  does  not  cloud  or  spot  if 
properly  put  on.  When  a  job  is  glazed,  rub  it 
carefully  and  apply  a  coat  of  American  finish- 


52       The  Painters'  Manual. 


ing  and  rubbing,  mixed  in  equal  parts.  Thia 
<5an  be  rubbed  for  finishing  coats,  whereas 
if  rubbing  varnish  be  put  on  over  the  glazing 
it  might  crack, — but  the  mixture  will  stand 
the  wear  of  years. 

Ultramarine  blue  panels  can  be  made  the 
same  way,  the  ground  being  gotten  up  with 
Prussian  blue. 

A  beautiful  wine  color  or  lake  may  be  made 
by  glazing  Indian  red  or  brown  with  carmine. 

A  brilliant  green  may  be  produced  by  a 
light  pea  green  glazed  with  verdigris  or  with 
Paris  green 

Striping  may  be  glazed  in  the  same  manner, 
but  of  course  on  dead  striping  color. 

Some  painters  put  on  glazing  the  same  as, 
and  in  the  place  of  coloring  varnish.  I  think 
this  a  very  poor  plan,  as  you  have  no  chance  to 
rub  the  surface  until  there  is  so  much  varnish 
over  it,  that  the  color  is  injured. 

The  workman  by  experiment  can  discover 
many  splendid  variations  of  shades  and  tints 


The  Painters'  Manual.  53 


by  the  glazing  process,  and  liis  labors  will  be 
better  rewarded  by  knowledge  acquired  in  that 
manner  than  if  I  were  to  extend  this  article  to 
greater  length  with  more  precepts. 


STRIPING. 

"When  tube  colors  are  used  for  striping, 
there  will  be  no  trouble  experienced  in.  mixing, 
as  they  only  require  thinning  with  turpentine, 
and  the  addition  of  a  little  sugar  of  lead. 
We  must  use  our  own  taste  in  striping ; 
though  governed  a  little  by  prevailing  styles. 
It  would  be  folly  for  me  to  dictate  any 
particular  style.  The  manner  in  which  strip- 
ing is  done  can  be  learned  in  three  minutes 
by  looking  at  a  workman  while  at  work,  but 
long  experience  is  required  to  perform  the 
operation  well ;  suffice  it  then  for  me  to  say, 
get  good  tools  and  colors  and  practice  on 
a  wheel  or  board  painted  for  the  purpose, 


64       The  Painters'  Manual. 


until  you  can  master  the  art,  for  only  practice, 
patience  and  perseverance  can  accomplisti  it. 

When  striping  on  solid  color,  the  ends 
of  the  stripes  or  any  imperfections  can  bo 
"cut  off"  or  improved  with  a  little  of  the 
"  dead  "  color,  but  on  a  glazed  or  light  color 
the  "cutting  off"  would  show,  therefore,  when 
thus  employed  on  these  colors  we  have  a  little 
oil  ready,  and  before  the  stripes  are  dry,  we 
draw  a  pencil  filled  with  the  oil  across  the 
ends.  Then  the  stripes  will  dry  everywhere 
but  in  those  places  where  the  oil  is,  and  then 
they  can  be  washed  off  with  soap  and  water 
after  all  the  rest  is  dry — and  thus  leave  the 
stripes  with  a  square  end.  Bronze  striping  is 
fashionable,  while  glazed  stripes  are  always 
considered  beautiful.  (See  Bronzing  and  Gild- 

Striping  with  a  mathematical  or  drawing 
pen  will  be  found  excellent  on  panels  or 
sleighs. 

Scotch  plaid  work  is  now  out  of  fashion,  as 


The  Painters'  Manual.  55 


well  as  cane  work,  or  raised  cane.  The  latter 
"  raised  Cain  "  with  many  who  did  not  know 
its  secret,  and  although  an  extended  article 
could  be  written  on  that  kind  of  work  alone, 
and  would  be  considered  interesting  by  some, 
its  antiquity  will  not  warrant  more  than  this 
brief  notice. 


ORNAMENTING. 

This  art  requires  practice,  and  the  orna* 
menter  should  be  able  to  draw  well.  However 
there  will  be  found  in  these  pages  rules 
for  copying,  by  which  a  medium  *  workman 
may  execute  fine  ornamental  work,  with  but 
little  knowledge  of  drawing. 

Monograms  being  more  fashionable  and  by 
far  more  appropriate  for  this  country  than 
Coats  of  Arms,  I  will  endeavor  to  aid  the 
workman  in  executing  these  "tangled  up" 
letters.  The  letters  of  monograms  are  not 
confined  to  any  particular  style  or  size,  yet 


66       The  Painters^  Manual. 


there  is  a  peculiarity  about  them  not  found 
in  other  places,  I  show  on  another  page 
letters  suitable  for  monograms  ;  the  workman, 
to  twist  them  up,  will  copy  them  (as  shown 
hereafter),  and  laying  the  two  or  three  letters, 
as  desired,  against  the  window,  can  "  lay  them 
out    to  suit  his  taste. 

It  may  be  necessary  to  make  some  letters 
larger,  as  seen  in  the  monogram  of  the  author 


The  Painters'  Manual.  57 


on  the  frontispiece.  This,  a  little  practice  will 
render  easy. 

The  form  of  monograms  may  be  sometimes 
made  to  represent  the  vocation  or  business  of 
the  owner,  as  shown  in  the  accompanying 
engraving.  The  initials  are  T.  M.,  made  with 
a  broken  anchor  and  a  rope,  while  the  flukes, 
or  broken  parts  of  the  anchor,  form  the 
ground.  This  monogram  may  represent 
Thomas  Moore,  a  sea  captain,  or  sailor.  Such 
ornaments  are  generally  expensive,  if  the 
services  of  an  artist  are  called  into  requisi- 
tion. 

The  "prominent  letter"  is  generally  the  one 
covering  the  greatest  part  of  the  outside  space, 
or,  to  define  it  more  clearly,  in  a  monogram 
composed  of  H.  D.  C,  the  C,  which  should  bo 
the  "prominent  letter,'*  is  made  largest  and 
almost  encircles  the  whole  monogram. 


The  Painters'  Manual. 


The  Painters^  Manual.  59 


GILDING. 

This  beautiful  art  requires  our  special 
attention,  for  it  appears  to  many  to  be  a  very 
troublesome  operation  to  execute  well.  But 
it  is  easily  done,  as  my  remarks  will  show, 
and  a  little  experience  prove.  It  is  best  when 
gilding  on  carriage  or  wagon  work,  where  the 
gold  will  be  protected  with  varnish,  to  procure 
"gold  size"  ready  prepared — English  gold 
size  being  the  best.  If  not  to  be  had,  you  can 
make  a  substitute  by  using  English  varnish 
and  Japan  in  equal  parts.  If  the  gilding 
is  for  striping,  you  should  mix  a  little  chrome 
yellow  with  it,  to  be  able  to  see  the  lines 
better ;  but  in  lettering  no  coloring  is  re- 
quired. Having  your  job  rubbed  down 
smoothly,  take  a  piece  of  muslin  and  tie  up  in 
it  a  little  whitening  to  form  a  "  pounce  bag 
with  this  you  pounce  or  dust  over  every  part 
of  the  work  where  the  gold  leaf  is  to  be  put, 
to  prevent  the  leaf  from  sticking  to  the 


60       The  Painters'  Manual. 


surface  not  covered  by  the  size.  Another 
method  is  to  wash  the  job  over  with  starch 
water  ;  while  still  another  plan  is — where  dust 
or  starch  is  not  applicable  on  account  of 
newly  varnished  work  near  by, — to  cut  a 
potato  in  half,  and  with  the  raw  surface  rub 
the  place  desired,  leaving  the  juice  of  the 
potato  on ;  this  soon  dries  and  forms  a  thin  film, 
to  which  the  gold  will  not  adhere.  Any  one  of 
the  above  methods  will  be  found  to  answer 
the  purpose,  and  the  coating  will  wash  off 
clean  when  the  gilding  is  dry.  The  surface 
prepared,  take  the  size  and  pu^  on  the  stripes, 
ornaments,  or  whatnot,  and  allow  it  to  dry  just 
enough  to  enable  you  to  pass  your  finger  over 
it  without  it  sticking  ;  but  if  when  the  finger 
is  placed  directly  upon  it,  it  is  "tacky,"  it  is 
ready  to  receive  the  gold. 

For  signs,  or  work  which  is  not  to  be 
covered  wdth  varnish,  we  should  use  oil  size, 
which  is  made  with  old  boiled  oil.  The  best 
is  that  taken  from  a  paint  cup  in  which  the 


The  Painters'  Manual.  61 


paint  has  settled  and  left  the  oil  on  top. 
Pour  this  off  carefully  and  grind  into  it  a  little 
chrome  yellow. 


TO  LAY  GOLD  LEAF. 

If  for  scrolls,  letters,  or  large  work,  take  the 
book  of  gold  leaf  in  the  left  hand,  and  with 
the  forefinger  of  the  right  hand  lift  the  first 
paper  leaf,  leaving  the  gold  on  the  opposite 
leaf  smooth  ;  then  holding  the  book  close  to 
the  work,  with  the  front  pointed  downward 
toward  the  bottom  of  the  letters  or  scroll  and 
lightly  touch  it,  rolling  the  book  up  and 
leaving  the  gold  on  the  letters.  Eepeat  this 
operation  until  all  the  size  is  covered.  Touch 
any  missed  spot  with  the  finger  tipped  with 
the  superfluous  gold,  and  wipe  all  off  nicely 
with  a  buncli  of  cotton. 

For  striping  it  is  better  to  use  a  "tip," 
(which  can  be  found  at  any  supply  store). 
Place  the  book  on  a  piece  of  board  covered 


62       The  Painters'  Manual. 


with  clotli,  and  raising  the  paper,  cut  the 
leaf  the  desired  size  with  a  table-knife,  the 
edge  of  which  is  perfectly  straight  and  smooth. 
Then  draw  the  tip  across  your  face  or  head,  to 
slightly  grease  it,  and  lay  it  on  the  cut  gold ; 
you  can  then  lift  and  carry  it  to  the  size.  Thus 
you  can  proceed  until  the  striping  is  com- 
pleted. Some  painters  cut  the  book  of  gold 
leaf  in  strips^  and  lay  the  leaf  directly  from  the 
strips  :  practice  with  either  method,  and  you 
will  find  it  easy  enough. 

Gold  may  be  shaded  with  transparent  colors, 
euch  as  asphaltum,  ultramarine,  lake,  car- 
mine, verdigris,  Paris  green,  etc.,  to  suit  the 
taste  of  the  painter. 


BRONZING. 

Gold  Bronze  is  used  on  carriage  parts 
for  striping  ;  and  many  fine  fancy  jobs  can  be 
done  with  this  powder. 


The  Painters^  Manual.  63 


The  size  used  for  bronze  is  the  same  as  that 
'described  for  gold  leaf. 

^o  put  on  the  bronze, — take  a  piece  of 
plusli  or  velvet,  and  make  a  small  "  pounce  " 
bag,  by  tying  up  a  ball  of  cotton.  This  will 
take  up  the  bronze,  which  is  gently  rubbed 
over  the  size.  The  best  quality  of  bronze 
is  but  little  inferior  to  gold  leaf,  and  for 
striping  is  better,  as  it  does  not  consume 
so  much  time,  and  at  the  same  time  it  is 
cheaper  than  gold  leaf.  To  make  fancy  work 
with  bronze,  cut  out  any  desired  pattern 
in  paper,  and  laying  it  over  a  nearly  dry 
varnished  surface,  rub  the  bronze  on  through 
the  holes  of  the  pattern.  The  fronts  of  the 
spokes  and  the  ribs  of  express  wagons  may  be 
nicely  ornamented  in  this  manner. 

Copper  and  silver  bronze  can  also  be  used 
in  this  way,  and  when  the  three  are  mixed  up 
in  ornaments  they  look  well. 


64       The  Painters'  Manual. 


TO  PAINT  A  BUSINESS  WAGON. 

In  painting  a  business  wagon  we  do  not*in 
all  cases  rough-stuff  the  bodies,  as  it  would  be 
too  expensive  and  troublesome ;  therefore  we 
must  get  up  the  surface  with  lead  and  sand- 
paper. We  use  the  same  paint  as  used  on 
carriages,  sandpapering,  puttying,  etc.,  between 
each  coat.  Facing  lead  will  be  found  excellent 
for  the  last  coat  of  lead,  as  it  cuts  smoothly 
and  easily  with  No.  1|  sandpaper. 

The  colors  of  business  wagons  are  generally 
decided  by  the  owner,  but  I  will  add  hereto  a 
few  of  the  colors  which  look  well  together. 

No.  1. 

Body. — Chrome  green  :  frame  or  ribs,  black, 
striped  with  white  or  cream  color. 

EuNND^G  Geae.— Cream  color,  striped  with 
red,  blue  or  dark  green  or  black,  and  red  fine 
line. 


'  I  . 

The  Painters'  Manual.  65 
No.  2. 

Body. — Yellow  :  frame  black,  striped  with 
white  or  blue. 

KuNNiNa  Gear. — Light  vermilion,  striped 
with  black  and  white. 

No.  3. 

Bonr. — Carmine  glaze  over  Indian  red. 
Running  Gear. — ^Vermilion. 

No.  4. 

Body. — Deep  vermilion. 
Running  Gear. — ^Light  vermilion. 


SLEIGHS. 

There  is  so  much  variety  in  the  styles  and 

colors  of  this  class  of  work,  that  I  dare  not  say 

much  in  regard  to  it.    The  foundation  is  the 

same  as  for  buggies.    Glazed  colors  are  the 

most    frequently   used.     Ornamental  work, 
5 


66       The  Painters'  Manual. 


such  as  scrolls,  birds,  vines  and  flowers,  are 
in  good  taste,  and  if  well  done,  add  to  the 
price.  Gold  striping  worked  up  with  fine 
lines  of  colors  are  in  great  demand — and  it 
seems  almost  impossible  to  get  on  too  much 
fancy  work.  The  sleigh  is  presumed  to  form 
a  part  and  parcel  of  the  joy  and  mirth  of 
a  sleigh-ride.  The  following  lines  being  aprO' 
pos  here,  I  venture  to  add  them  : 

**The  snow,  the  snow,  the  fleecy  snow, 
And  the  bells  so  full  of  glee, 
Bring  out  the  bay  and  the  dapple  gray, 
And  a  sleighing  go  with  me. 

For  it*s  jingle,  jingle,  jing  ; 
Let  the  sleigh-bells  ring. 

**  As  swiftly  we  glide  along  ; 
Our  hearts  keep  time 
To  the  merry  chime, 
"While  our  voices  swell  the  song." 


The  Painters'  Manual.  67 


TO  REMOVE  OLD  PAINT. 

There  are  various  metLods  employed  for 
removing  old  paint,  and  I  will  endeavor  to 
describe  them.  First  there  is  the  hot-iron 
process.  This  is  done  by  taking  a  heavy 
piece  of  iron  and  heating  it  in  a  stove  or  forge, 
and  then  holding  it  close  to  the  work.  The 
paint  will  blister  or  soften,  and  can  be  scraped 
off  with  a  putty  knife  or  chisel.  A  better 
plan  is  the  furnace  process.  The  furnace  is 
made  of  sheet-iron  and  heavy  wire  ;  its  gen- 
eral form  is  shown  in  the  accompanying  en» 
graving. 


The  triangular  shape  allows  it  to  be  hold 
closely  to  the  work  on  either  side.  Being 


68       The  Painters'  Manual. 


filled  with  ignited  charcoal,  and  a  good  fire 
kept  up  bj  holding  it  in  a  draft,  frequently, 
one  can  with  this  "burn  off'*  a  body  very 
quickly  and  well. 

There  is  also  a  patent  lamp  used  for  the 
purpose.  I  have  used  one,  and  found  it  an 
excellent  tool.  It  is  designed  to  burn  alcohol, 
and  makes  at  the  same  time  alcoholic  gas, 
which  is  directed  upon  the  flame  by  a  pipe^ 
while  the  flame  is  blown  out  in  a  long  tongue 
of  fire.  This  lamp  is  self-acting,  and  the  work- 
man merely  holds  the  lamp  in  his  left-hand, 
directing  the  tongue  of  flame  upon  the  de- 
sired spot,  scraping  the  paint  off  as  he  goes 
along  with  the  right  hand. 

Still  another  process  is  the  potash  plan. 
Dissolve  one  pound  of  potash  in  three  pints  of 
water  over  the  fire,  then  add  yellow  ochre  or 
some  common  dry  paint  until  it  is  as  thick  as 
rough  stuff.  Smear  this  over  the  panel  with 
an  old  brush,  and  in  a  little  while  you  can 
scrape  off  the  paint  like  old  cheese.  Some- 


The  Painters'  Manual.  69 


years  ago  I  was  induced  to  use  a  preparation 
(Ostrander  s)  to  take  the  place  of  potasli — but 
it  was  a  failure.  After  the  paint  is  taken 
off  by  the  potash  process,  wash  the  wood  well 
with  soap  and  water  to  remove  any  residual 
potash,  dry  off  and  sandpaper,  and  then  give 
a  coat  of  clean  raw  oil. 

With  the  furnace  or  hot  iron  process,  sand- 
paper smoothly  and  apply  a  coat  of  the  usual 
priming,  and  proceed  as  if  on  new  work. 


Carriage  parts  must  be  scraped,  and  for 
this  purpose  I  use  a  tool,  as  shown  in  the 
engraving.  It  is  made  of  steel  (an  old  file 
for  instance),  the  square  centre  part  being 
ground,  and  the  four  square  edges  are  excel- 
lent to  scrape  the  spokes,  while  the  ends  will 
be  found  useful  on  the  carriage  part.  It  is 
only  where  an  extra  job  is  wanted  that  it  will 
be  necessary  to  scrape  off  the  carriage  part, 


70       The  Painters'  Manual. 


for  we  can  generally  fill  them  up  with  lead  and 
get  a  good  substantial  surface. 


RE-VARNISHINa. 

Old  jobs  should  be  rubbed  well  with  pumico 
stone  and  water,  the  bare  wood  being  covered 
with  lead  color  (No.  1).  All  spots  not  bare 
can  be  touched  up  with  dead  color  ;  then  put 
on  a  coat  of  rubbing  varnish.  If  there  be  spots 
yet  not  colored  properly,  they  can  be  fixed  for 
the  next  or  finishing  coat.  It  is  generally  the 
cheapest  plan  to  color  the  carriage  part  over 
and  stripe  anew,  as  it  is  a  long,  tedious  job  to 
touch  it  up,  and  never  looks  well. 


AN  EASY  WAY  TO  CLEAN  THE.  MILL. 

When  the  paint  is  all  out  of  the  mill,  it  is 
best  to  clean  the  same,  before  the  grinding 
surfaces  become  gummed  up  with  dried  color. 
The  easiest  way  is  to  have  a  box  of  sawdust,. 


The  Painters'  Manctal.  71 


in  -^'hicli  tlie  parts  of  the  iDill  may  be  placed 
and  rubbed  clean. 


TO  BIND  A  BRUSH. 

13 HUSHES,  when  new,  should  be  bound  at  least 
one-third  the  length  of  the  hair,  to  preserve 
them  and  render  them  better  for  use.  Some 
painters  bind  a  strong  cord  round  and  round 
to  the  proper  distance,  and  secure  each  end  to 
the  handle. 

But  a  better  way  is,  to  take  a  piece  of 
strong  muslin  and  wrap  one  thickness  around 
the  hair,  then  tie  a  cord  firmly  around  the 
same  as  low  as  you  desire  the  binding  to  come: 
then  fold  the  muslin  back  toward  the  handle, 
and  fasten  it  by  tacking  the  margin  around 
che  border  of  the  original  binding. 

This  method  makes  a  very  neat  binding 
especially  for  varnish  brushes. 


72       TuE  Tainters'  Manual. 


BLEACHING  OIL. 

Pour  about  as  mucli  linseed  oil  into  a  shal- 
low earthen  vessel  as  will  stand  one  inch 
in  depth  ;  then  pour  in  six  inches  of  water, 
cover  with  a  fine  cloth,  and  let  the  whole  stand 
in  the  sun  for  a  few  weeks  until  the  liquid 
becomes  thick,  when  it  should  be  poured 
in  a  phial  and  submitted  to  a  gentle  heat, 
after  which  the  clear  is  to  be  poured  off  and 
strained  through  a  flannel  cloth. 


ABOUT  OILS. 

The  longer  oil  is  kept,  it  is  always  tho 
better  both  in  regard  to  its  drying  and  tran- 
sparent qualities.  To  make  good  nut  oil,  the 
skins  of  ripe  walnuts  should  bo  peeled  off, 
as  it  contains  an  acid  whicli  turns  it  brown. 
Poppy  oil  is  made  from  the  ripe  seed  of 
poppies.  It  is  the  best  drying  oil.  The  oil  of 
spike,  or  lavender,  is  ol^tained  by  distilling 


The  Painters^  Manual.  73 


spike  with  water ;  it  is  very  volatile  and  fine 
for  working  witli  fclie  pencil,  or  for  enamelling. 
To  make  a  fine  drying  oil  for  extra  fine  paint- 
ing, take  of  poppy  oil  or  nut  oil  one  pint, 
of  gum  sandarac  two  ounces,  of  white  vitriol 
and  sugar  of  lead,  each  one  ounce.  Boil  the 
whole  till  (he  solid  ingredients  are  dissolved, 
and  the  mixture  is  the  color  of  linseed  oil. 

This  oil  will  dry  fast,  and  a  portion  of  pure 
turpentine  added  makes  a  fine  oil  for  use 
where  the  purest  white  tint  is  required.  It 
may  be  mixed  with  other  oils  as  a  drying, 
where  common  drying  oil  would  be  injurious 
to  the  color. 

Raw  linseed  oil  for  carriage  work  is  best,  as 
being  more  volatile  than  boiled  oil,  it  strikes 
into  the  wood,  and  forms  a  hard,  resinous 
filling. 

TO  TRANSFER  A  PICTURE. 

Pictures  are  frequently  transferred  to 
painted  surfaces  or  wood,  and  may  be  seen  on 


74       The  Painters^  Manual. 


stages,  fancy  boxes,  etc.  To  transfer  a  picture, 
prepare  a  white  ground  well  rubbed  down 
with  pumice  stone  and  water.  Then  apply  a 
thin  coat  of  very  light-colored  varnish.  (Eng- 
lish hard  drying  is  good.)  When  this  is  not 
quite  dry — "tacky,"  like  gold  size — dampen 
the  picture  on  the  back  with  clean  water,  and 
lay  it  between  some  newspapers  to  remove  any 
water  that  might  be  on  the  face  of  the  picture  ; 
then  lay  it  carefully  on  the  varnished  surface, 
pressing  it  down  with  a  damp  cloth,  or  the 
finger,  until  there  are  no  bubbles  or  air  under- 
neath ;  if  there  should  be  bubbles  not  easily 
pressed  out,  prick  them  with  a  pin  to  let  the 
air  escape.  Then  stand  the  work  aside  to  dry, 
and  when  hard,  dampen  tlie  paper,  and  it  can 
be  rolled  off  by  the  finger  in  small  rolls,  until 
the  picture  is  left  quite  perfect  on  the  paint. 
After  this  has  dried  well,  a  coat  of  clear  light 
varnish  will  finish  the  operation.  The  same 
process  is  used  to  transfer  pictures  to  glass, 
and  when  colored  on  the  back  they  look 


Painters'  Manual.  75 


beautifully.  Almost  any  one  can  do  this  kind 
of  ornamentation  nicely.  Try  it  on  a  small 
scale. 

Another  method  is  to  use  Grecian  varnish — 
Canada  balsam  and  turpentine — but  Copal 
varnish  is  better  where  you  desire  durability  ; 
and,  besides,  every  carriage  painter  has  tho 
material  always  at  hand 


VARNISH  FOR  MAPS  AND  PICTURES. 

A  GOOD  varnish  for  maps  and  pictures  is 
made  of  Canada  balsam  and  rectified  oil  of 
turpentine  in  equal  parts,  mixed.  Set  the  bottle 
containing  the  mixture  in  warm  water  and 
agitate  until  the  solution  is  perfect ;  then  set 
in  a  warm  place  a  week  to  settle,  and  when 
settled  pour  off  the  clear  varnish  for  use. 


76       The  Painters'  Manual. 


ANOTHER. 

Take  two  ounces  of  gum  mastic  and  ono 
ounce  of  gum  sandarac,  reduce  them  to  a 
powder,  then  put  them  in  a  flask  or  bottle  and 
add  a  pint  of  alcohol ;  shake  the  whole 
together  till  the  gums  have  dissolved,  strain 
the  solution  through  a  fine  flannel,  and  put 
it  in  a  clean  bottle,  corked  tight,  till  wanted 
for  use.  This  varnish  will  dry  in  one  minute, 
and  on  fancy  boxes,  pictures,  etc.,  will  form 
a  good  water-proof  coating. 


TO  PRESERVE  PENCIL  DRAWINGS. 

Wash  lead-pencil  drawings,  such  as  patterns, 
etc.,  with  gun  cotton  in  ether,  (collodion,) 
and  you  will  firmly  fix  them  so  that  rubber 
will  not  rub  them  out. 


TO  COPY  AN  ORNAMENT  FROM  PAPER. 

Place  the  paper  containing  the  ornament 
against  a  window  pane,  and  then  laying  a  sheet 


The  Painters*  Manual.  77 


of  ttin  paper  over  it  you  can  copy  it  exactly 
with  a  lead  pencil. 


COPYING  PAPER. 

Mix  six  parts  by  weight  of  turpentine,  one 
part  of  rosin,  and  one  part  of  boiled  nut  oil, 
and  apply  to  the  paper  with  a  sponge.  A 
small  quantity  of  plumbago  (black  lead)  added 
to  the  mixture  makes  a  very  good  paper  to 
lay  under  an  ornament  which  you  wish  to 
transfer. 


TRACING  PAPER. 

Take  thin  tissue  paper  and  apply  a  coat  of 
varnish,  and  when  dry  you  can  trace  any 
ornament  you  wish  with  a  pencil  upon  it. 
When  an  ornament  has  been  traced  upon  this 
paper,  rub  over  the  back  some  dry  color, 
and  then  by  laying  it  on  the  place  you  desire 
to  paint,  you  can  follow  the  lines  with  a  pencil, 
and  you  will  find  the  counterpart  on  the 


78      The  Painters^  Manual. 


panel ;  then  lightly  scratch  those  lines  with  a 
pin,  and  wipe  off  the  dry  color. 


TO  PRESERVE  ORNAMENTS. 

Ornaments  on  work  to  be  repainted  may  bo 
saved,  if  the  paint  is  not  to  be  burnt  off,  by 
taking  a  little  glue  and  whiting,  while  warm, 
and  applying  a  thin  coat  with  an  ornamenting 
pencil.  This  will  soon  dry,  when  another 
coat  should  be  put  on,  and  you  can  then  paint 
over  the  ornament,  being  careful  not  to  touch 
the  spofc  with  sandpaper  or  pumice  stone  and 
water  until  the  job  is  ready  to  rub  down 
in  coloring  varnish,  when  the  glue  can  be 
soaked  off  clean.  There  will  be  found  a 
slight  depression  from  the  surface,  but  this 
can  be  remedied  by  giving  the  ornament 
a  thick  coat  of  rubbing  varnish  with  the 
pencil ;  and  when  the  succeeding  coats  of 
varnish  are  rubbed  down  it  will  be  found 
level. 


The  Painters'  Manual.  79 


LETTERING. 

There  is  a  vast  difference  between  the 
lettering  of  wagons  and  that  of  signs ;  there- 
fore it  becomes  my  duty  to  lay  before  the 
readers  of  this  book  the  peculiarities  attending 
this  beautiful  and  useful  art. 

The  principle  aimed  at  in  wagon  lettering 
is  plain,  or  ornamentally  arranged  letters, 
which  may  be  seen  and  easily  read  while  the 
wagon  is  in  motion ;  while  signs  are  expected 
to  be  read  while  the  reader  is  moving.  A 
solid  bodied  letter  therefore  is  necessary  for 
wagon  work,  as  that  can  be  seen  and  read  at  a 
greater  distance  than  a  Eoman  letter,  or 
one  having  fine  lines. 

There  are  several  varieties  of  letters  used  in 
wagon  lettering,  but  the  principal  styles,  and 
those  most  frequently  used,  will  be  shown  in 
these  pages.  There  is  a  difference  in  outline 
from  printers'  type,  and  consequently  it  is  not 
always  best  to  follow  after  or  copy  prints  when 


80       The  Painters'  Manual. 


mating  letters.  The  names  of  the  principal 
styles  of  letters  are  : 

Octagon  Full  Block,  Eound  Full  Block, 
Octagon  Half  Block,  Eound  Half  Block, 
Antique  Block,  Eoman,  Italic,  Italian  Back 


The  Painters^  Manual.  81 


slope,  Front  slope,  Capitals  and  Lower-case 
The  latter  names  are  taken  from  the  printers, 
and  mean  the  capitals  or  large  letters,  and 
the  lower  case,  or  the  small  ones  of  same  style. 


The  first  style  shown  is  Octagon  Full  Block, 
which  is  a  beautiful  letter  on  almost  any  kind 
of  work,  and  it  can  be  greatly  extended  if 
desired  to  fill  a  certain  space.  When  shaded 
nicely  this  style  presents  a  bold  front,  and  can 
be  read  distinctly  at  a  considerable  distance. 
The  letter  S  shown  on  page  82  represents  a 
hloch  shade,  which  may  be  executed  very  easily 

by  glazing  the  dark  shade ;  as,  for  instance, 

6 


83       The  Painters'  Manual. 


the  letter  havmg  been  shaded  with  vermil- 
ion, the  dark  shaded  part  is  glazed  with  car- 


mine, and  the  light  part  left  vermilion. 
Another  very  good  way  by  which  you  can 
make  three  shades,  or  what  is  termed  "Double 
shade  blocked'*  is  to  shade  the  letter  with 
light  blue,  block  shade  with  medium  blue, 
and  then  double  shade  with,  ultramarine  blue. 
The  next  letter  in  order  is  the  Eound  fall 
block  ;  these  are  similar  to  the  Octagou,  with 
the  exception  that  the  corners  are  rounded. 


The  Painters'  Manual.  83 


OCTAGON  HAL7  BLOCK. 


This  is  a  very  easy  letter  to  draw  and  paint, 
and  wlien  shaded  nicely,  has  a  very  neat  appear- 
ance. It  may  be  condensed  or  extended  to 
suit  the  taste  of  the  letter  or,  and  where  speed 
is  desired  in  lettering,  this  style  will  be  found 


84       The  Painters^  Manual. 


to  answer  well  I  show  three  styles  of  eliado- 
tng  herewith. 


DOUBLE  SHADE. 


I 


The  Painters'  Manual.  85 


BLOCK  SHADE. 


This  style  of  letter,  when  in  gold,  and  "  edged 
all  around" — as  hereafter  described, — will  be 
found  excellent  for  the  fronts  of  trucks,  panels 
of  express  wagons,  and  as  a  feature  of  variety 
on  top-sides. 

Such  letters  may  bo  ornamented  when 
desired,  as  shown  in  the  engraving,  the  letter 
being  made  with  a  light  color,  say,  light  blue,  » 
and  then  the  dark  blue  put  on,  as  already 
mentioned.  This  makes  a  splendid  line  of 
letters,  and  is  very  fashionable. 

The  style  of  letters  used  is  generally  decided 


The  Painters'  Manual. 


hy  the  length  of  space,  and  the  number  of 
letters  desired  in  that  space.  No  two  lines  of 
the  same  style  should  be  placed  together, 
if  possible  to  prevent  it,  but  an  alternate  use 
of  one  style  will  not  look  out  of  place,  if 
a  difference  be  made  in  shading.  Sometimes 
it  is  necessary  to  use  a  certain  style  of  letter, 
even  if  that  style  has  to  be  condensed  or 
extended  to  fill  the  space ;  but  this  must 
be  determined  by  the  workman,  and  experience 
will  teach  the  requisite  good  taste. 

To  lay  out  a  line  of  letters,  decide  upon  the 
size,  then  draw  a  line  for  the  top  and  another 
for  the  bottom  ;  then  with  a  pair  of  dividers 


The  Painters'  Manual.  87 


Bet  to  a  chosen  size,  run  over  the  length 
of  space  to  see  if  you  will  have  room  enough 
to  put  in  the  desired  number  of  letters  ;  if  not, 
set  the  dividers  again  and  measure  the  space 
again.  Bear  in  mind  that  the  space  between 
letters  is  not  always  the  same,  for  where  such 
letters  as  A.  F.  J.  L.  T.  V.  W.  Y.  are  used,  the 
space  between  them  and  the  other  letters 
is  but  one-half  that  which  is  left  between 
letters  like  H.  D.  B.,  etc.  An  L.  placed  next 
to  a  v.,  with  the  same  space  as  given  to  H.  B., 
would  look  very  badly,  owing  to  the  open 
character  of  the  L.  The  letter  I.  should  have 
considerable  space,  that  it  be  not  confused 
with  the  other  letters.  The  arrangement  of 
letters  can  be  well  studied  by  paying  close 
attention  to  the  work  of  some  good  letterer  ; 
and  as  it  is  a  difficult  task  to  describe  fully 
the  "  laying  out "  without  numerous  diagrams, 
I  will  "  rest  here,"  on  that  point,  as  a  lawyer 
would  say. 

The  Antique  block  letter  will  be  found 


88       The  Painters'  Manual. 

  I' 

very  useful  as  well  as  the  Italian,  both  of 
which  are  used  extensively  on  milk-wagons  in 
our  city. 


ANTIQUE  BLOCK  LETTER. 

"Wagon  lettering  is  invariably  shaded  on  the 
right  side,  a  rule  which  custom  has  created 
among  first-class  wagon  letterers,  leaving  sign 
work  to  be  shaded  on  the  left  side,  as  you  will 
notice  is  more  frequently  done. 

Gold  lettering  on  any  ground  color  should 
always  be  shaded  and  "edged,"  the  latter 


The  Painters'  Manual.  89 


ITATJAN  BJUOCK  LETTEE. 

being  a  fine  white  or  cream-colored  line  on 
the  edge  of  the  letter,  opposite  the  shade  ;  or 
it  may  be  put  all  around  the  letter  and  still 
be  in  good  taste.  Gold  letters  on  a  red 
ground  are  generally  shaded  with  black  and 
double  shaded  with  carmine  or  asphaltum. 
edged  with  white.  Gold  on  a  white  ground 
is  edged  with  black. 


90      The  Painters'  Manual. 


SCROLLS 

This  work  requires  tlit  good  taste  and 
perfect  outline  of  a  draiigMsman.  But  an 
insight  into  this  art  ma/  be  gained  by  copying 
the  work  of  others,  by  processes  described  in 
this  book. 

When  a  copy  has  been  made  on  the  copy- 
ing paper,  take  a  piece  of  stout  wrapping- 
paper,  and  laying  it  on  a  smooth  board,  place 
the  copy  over  it,  and  fasten  all  down  to  the 
board  with  a  few  tacks  or  pins  ;  then  with  a  pin 
prick  the  outlines  with  small  holes  through 
the  copy  and  wrapping-paper.  Having  done 
this,  lift  all  from  the  board,  and  by  placing  the 
wrapping-paper  copy  on  the  panel,  and  dusting 
on  fine  whiting  with  a  pounce-bag,  you  will 
transfer  the  copy  to  the  panel.  Next  proceed 
to  fill  in  the  outlines  with  gold  size  ;  lay  on 
the  gold,  and  then  clean  all  off  nicely  for 
shading. 

This  is  done  with  asphaltum,  but  a  very 


The  Painters'  Manual.  91 


fine  effect  can  be  made  by  glazing  some  parts 
with  carmine  or  blue.  Copy  the  shading 
of  the  original  as  near  as  possible  ;  put  in  the 
lights  or  white  fine  lines,  and  with  a  little 
practice  and  the  use  of  pattern,  you  will  soon 
gain  a  knowledge  of  scrolling  sufficient  to 
enable  you  to  perform  ordinary  work. 

Scrolling  in  colors  can  be  learned  in  the 
same  way,  but  it  is  a  more  difficult  art,  as  it 
requires  good  taste  in  the  application  of 
colors — harmony  of  colors  being  the  greatest 
desideratum  in  good  scrolling. 


STENCILING. 

Stenciling  is  an  art  by  which  the  painter 
can  execute  ornamental  work  quickly,  and 
when  thoroughly  understood  it  will  often  be 
called  into  requisition  in  the  wagon  paint 
shop. 

The  articles  required  in  making  a  stencil, 


92       The  Painters'  Manual. 


aro  a  sheet  of  well-sized  writing  paper,  a 
lead  pencil,  and  a  sharp  penknife. 

Fold  the  paper,  allowing  the  edge  of  the 


The  Painters'  Manual.  93 


fold  to  form  the  centre  of  the  pattern  ;  then 
draw  any  design  you  wish,  leaving  bars 
to  hold  the  parts  together,  as  seen  in  the 
engraving  herewith  ;  then  lay  the  paper  upon 
a  piece  of  glass  and  cut  out  the  figure  with  tho 
penknife. 

Fac  simile  copies  of  these  engravings  may 
be  made  by  copying,  (as  already  described,) 
and  they  will  be  found  useful  on  the  panels, 
springs,  bars  and  spokes  of  a  wagon.  Figs.  1 
and  2  are  illustrations  of  neat  and  simple 
patterns  in  stenciling,  and  such  as  may  be 
used  for  the  ends  of  small  panels,  or  parts  of 
the  figures  on  springs,  etc. 

The  tool  used  for  this  work  is  a  camels'-hair 
brush  or  pencil,  with  hair  not  over  one-half  an 
inch  long,  bound  with  quill  and  wire  on  a 
round  wooden  handle.  Price  at  supply  stores, 
rates  from  25  cents  to  $1.00.  The  small  sizes 
are  preferable. 

The  color  may  be  mixed  in  Japan  and 
turpentine,  as  for  striping,  but  color  mixed 


94       The  Painters^  Manual. 


with  vinegar  and  sugar  will  be  found  best. 
The  paint  must  be  quite  thick,  and  a  small 
quantity  only  must  be  taken  on  the  brush, 
and  then  well  rubbed  out  on  a  dry  place 
before  applying  it  to  the  work. 

Laying  the  stencil  on  the  panel  as  desired, 
hold  it  down  firmly,  and  rub  over  with  the 
brush  carefully  until  the  cut  portions  of  the 
figure  are  well  coated.  Then  lift  off  the  stencil 
and  the  work  is  completed. 

Many  of  my  readers  may  have  noticed  the 
beautiful  work  executed  by  fresco  painters,  and 
wondered  how  it  was  done  so  correctly  ;  and 
now  with  the  ideas  here  shown,  the  ordinary 
painter  may  compete  with  that  class  of  work- 
men in  the  ornamentation  of  his  special  line, 
combining  beauty,  economy  and  dispatch. 


TnE  Painters'  Manual 


95 


TO  TRANSFER  ORNAMENTS  FOR  CARRIAGES, 
WAGONS,  ETC. 

This  beautiful  art  is  now  practiced  by  many 
painters,  who  are  either  in  a  hurry  with  their 
work,  or  for  economy's  sake. 

Pictures  expressly  designed  for  carriages 
are  now  sold  at  the  leading  periodical  stores, 
and  the  amateur  painter  is  enabled  thereby  to 
finish  a  job  of  carriage  painting  in  fine  style. 

These  pictures  may  bo  stuck  on,  and  the 
dampened  paper  carefully  removed,  leaving 
the  picture  intact  upon  the  panel,  requiring 
no  touching  with  the  pencil.  The  proper 
way  to  put  on  decalcomine  pictures  is  to 
varnish  the  picture  carefully  with  the  prepared 
varnish  (which  can  be  obtained  with  the 
pictures,)  with  an  ornamenting  pencil,  being 
sure  not  to  get  the  varnish  on  the  white 
paper.  In  a  few  minutes  the  picture  will  be 
ready  to  lay  on  the  panel,  and  the  paper  can 
be  removed  by  wetting  it,  as  already  described  ; 


96       The  Painters^  Manual. 


and  when  thoroughly  dry  it  should  be  var- 
nished Hke  an  oil  painting.  Be  particular  to 
purchase  none  of  these  transfer  pictures,  except 
those  covered  with  gold  leaf  on  the  back,  for 
they  will  show  plainly  on  any  colored  surface, 
while  the  plain  pictures  are  used  only  on  white 
or  light  grounds.  They  may  be  procured  at 
any  stationery  store,  and  the  cosfc  is  trifling. 


STAINING  T\^OOD. 

Take  nitric  acid  and  dilute  with  ten  parts 
water,  wash  the  wood  with  it,  and  a  mahogany 
color  will  be  obtained. 

To  produce  a  rosewood  finish,  glaze  the 
same  with  carmine  or  Munich  lake. 

Asphaltum,  thinned  with  turpentine,  is 
another  excellent  mahogany  color,  on  new 
wood. 


APPENDIX. 


The  following  pages  I  will  devote  to  items 
of  interest,  and  should  there  be  anything  left 
"  out  in  the  cold/'  I  beg  the  reader's  pardon. 


To  keep  striping  pencils  in  good  shape  and 
ever  ready  for  use,  grease  them  with  tallow 
from  a  candle,  and  spread  the  hair  straight  on 
a  piece  of  glass,  keeping  the  same  in  a  box 
made  for  the  purpose,  so  that  they  may  be 
preserved  from  dust. 

Why  do  striping  pencils  curl  up  or    crinkle  " 

when  used  in  white  (keg-lead)  color?  Because 

the  acid  with  which  the  lead  is  made  acts  on 

the  hair,  heating  and  contracting  the  fibre. 

To  straighten  them  when  thus  crooked,  I 
7 


98      The  Painters'  Manual. 


draw  the  j)encil  across  or  between  a  warm 
iron  and  the  finger.  Dry  wliite  lead  mhed  in 
yaruish  and  turpentine  is  preferable  for  strip- 
ing, but  tube  colors  are  best. 


When  it  is  desirable  to  glaze  a  job  vnih, 
carmine,  why  do  you  advise  the  workman 
to  get  up  a  coloring  varnish  surface,  while 
some  painters  are  in  the  habit  of  putting  on 
glazing  the  same  as  if  it  were  coloring  varnish? 
Because  I  have  then  a  chance  to  rub  the 
job  smooth,  which  I  could  not  do  so  well  over 
the  glazing.  Besides,  the  glazing  being  mixed 
with  flowing  varnish,  will  flow  level  and  free 
from  clouds,  if  put  on  a  smooth  surface. 


rAPER  CUPS  FOR  STRIPING  COLORS. 

Although  I  do  not  recommend  the  use  of 
paper  cups  for  holding  striping  colors,  I  am 
aware  that  many  prefer  them,  as  they  are 


The  Painters'  Manual.  99 


easily  disposed  of  when  no  longer  desired  for 
use. 

The  economical  painter  would  Lave  small 
tin  cups  to  use  for  striping  colors,  as  tlio 
paper  cups  cause  a  waste  of  sandpaper. 


BRONZE  PAINT  FOR  IRON. 

Ivory  black  one  ounce,  chrome  yellow  ono 
ounce,  chrome  green  two  pounds ;  mix  with 
raw  linseed  oil,  adding  a  little  Japan  to  dry 
it,  and  you  have  a  very  nice  bronze  green. 
If  desired,  gold  bronze  may  be  put  on  the 
prominent  parts,  as  on  the  tips  or  edges  of  an 
iron  railing,  when  the  paint  is  not  quite  dry, 
using  a  piece  of  velvet  or  plush  with  which 
to  rub  on  the  bronze. 

TO  BRONZE  STATUARY. 

Plaster  casts  or  castings  may  be  bronzed  as 
follows  :  Wash  the  plaster  over  with  thin  gluo 


100      The  Painters'  Manual. 


or  starch  water.  When  dry  apply  the  bronze 
mixture  above  described,  adding  to  it  a 
little  gold  bronze  powder,  or  some  Dutch 
metal,  powdered  on  the  stone. 


TO  PAINT  MAGIC  LANTERN  SLIDES. 

Transparent  colors  only  are  used  for  this 
work,  such  as  lakes,  sap-green,  ultramarine, 
verdigris,  gamboge,  asphaltum,  etc.,  mixed  in 
oil  and  tempered  with  light-colored  varnish, 
(white  Demar). 

Draw  on  paper  the  design  desired,  and 
stick  it  to  the  glass  with  water  or  gum  ;  then 
Avith  a  fine  pencil  put  the  outlines  on  the 
opposite  side  of  the  glass  with  the  proper 
colors ;  then  fill  up  and  shade  with  black 
or  Vandyke  brown,  as  you  find  best. 

YARNISH  FOR  VIOLINS.' 

Heat  together  at  a  low  temperature  two 
quarts  of  alcohol,  half  a  pint  of  turpentine- 


The  Painters'  Manual.  101 


varnish,  and  one  pound  of  clean  gum  mastic, 
When  the  latter  is  thoroughly  dissolved, 
strain  through  a  fine  cloth. 


ANOTHER. 

Dissolve  gum-shellac  in  alcohol  by  a  gentle 
heat,  and  strain  for  use.  This  varnish  will 
dry  in  a  few  minutes,  and  is  oest  on  account 
of  there  being  no  oil  in  its  composition,  oil 
being  detrimental  to  musical  instruments  liko 
the  violin. 


ANOTHER. 
Gum  mastic  dissolved  in  spirits  of  wino. 


TO  STAIN  VIOLINS. 

Take  one  pound  of  Brazil  wood  and  boil  it 
in  a  half-gallon  of  water,  an  hour;  strain 
the  liquor  and  add  one  half  an  ounce  of 


102      The  Painters'  Manual. 


cochineal ;  boil  again  gently,  and  it  will  be 
ready  for  use.  This  will  produce  a  crimson  tint. 
K  you  wish  it  darker,  boil  a  small  quantity  of 
saffron  in  a  quart  of  water,  and  apply  it  before 
putting  on  the  crimson  stain.  If  you  desire 
a  purple  color,  boil  one  pound  of  logw'ood  in 
three  quarts  of  water,  then  add  four  ounces  of 
pearlash  and  two  ounces  of  powdered  indigo. 


LETTERING  ON  GLASS. 

Sign  painting  on  glass  is  one  of  the  beauti- 
ful branches  of  our  art,  and  as  there  are  but 
few  who  can  make  a  good  job,  I  will  endeavor 
to  explain  the  method  which  has  always  been 
found  to  answer  the  purpose  admirably. 

The  glass  should  first  be  thoroughly  cleaned 
and  dried,  then  lay  out  the  lines  for  the  letters 
with  soap,  a  piece  of  hard  scented  soap  being 
best,  then  proceed  to  paint  the  letters  on  the 
right  side  of  the  glass  with  lampblack  mixed 
with  oil — this  is  to  form  a  guide  for  the  work ; 


The  Painters'  Manual.  103 


then  on  the  inside,  lay  on  a  thin  coat  of  size — 
made  Avith  the  white  of  an  egg  and  water,  or 
isinglass  dissolved  in  water — with  a  camels - 
hair  brush,  covering  over  the  whole  line  of 
letters.  Then  lay  on  the  gold  leaf  with  a  tip, 
until  every  part  of  the  letters  is  covered  well. 
Allow  the  leaf  to  remain  until  the  size  is  dry, 
and  you  will  find  that  the  letters  on  the  front 
side  can  be  easily  seen  and  traced.  This  is 
done  with  quick  drying  black,  to  which  is 
added  a  little  varnish.  Paint  over  every  part 
of  the  letter  directly  on  the  gold  and  allow  it 
to  dry;  then  wipe  off  with  soap  and  water 
the  lampblack  letters  from  the  front  side,  and 
with  clean  cold  water  and  a  soft  sponge,  wash 
the  superfluous  gold  leaf  and  size  from  the 
back,  and  you  will  have  a  perfect  gold  letter 
on  the  glass. 

Proceed  now  to  shade  the  letters,  which 
may  be  done  in  colors  to  suit  the  taste  of  tho 
painter.  Always  shade  to  the  edge  of  the 
gold,  for  by  that  means  you  have  only  one 


104      The  Painters'  Manual. 


edge  to  make  straight.  The  shade  may  be  left 
rough  on  its  extreme  edge,  and  when  dry 
a  neat  straight  edge  can  bo  obtained  by 
merely  scraping  with  a  knife. 


ORNAMENTAL  DESIGNS  ON  GLASS. 

In  making  scrolls,  eagles,  etc.,  on  glass, 
some  painters  put  on  the  outlines  and  shades 
first,  and  then  lay  the  gold  leaf  over  all. 
Another  good  way  is  to  scratch  the  shades 
into  the  gold  leaf  after  it  is  dry,  and  put  the 
colors  on  the  back  of  the  gold. 

Silver  leaf  may  be  used  in  the  same  manner 
as  gold,  but  it  will  not  wear  as  well. 

A  very  pretty  letter  may  be  made  by 
incorporating  silver  with  gold. 

Take  paper  and  cut  any  fancy  design  to  fit 
the  parts  of  the  letter,  stick  it  on  to  the  size 
before  laying  the  leaf,  and  then  lay  the  leaf,^ 
allowing  it  to  dry,  and  wash  off  as  before  ;  then 
with  a  penknife  raise  the  paper  figure,  and 


1^ 


The  Painters'  Manual.  105 


tlio  exact  shape  or  form  of  the  figure  will  be 
found  cut  out  of  the  gold  letter.  Clean  ofif 
nicely,  apply  more  size,  and  lay  silver  leaf  to 
cover  the  vacant  spots.  Wash  off  when  dry, 
and  a  very  handsome  ornamented  letter  will 
be  the  result. 

Colors  may  be  used  instead  of  silver,  if  de- 
sired, or  a  silver  letter,  edged  or  "  cut  up  "  with 
gold,  will  look  well. 


PERMANENT  WOOD  FILLING. 

A  PREPARATION  designed  to  supercede  the  lead 
color  filling  of  carriage  bodies  was  some  time 
ago  put  in  the  market  and  tried  by  almost 
every  carriage-maker  in  the  country  ;  but  I 
have  yet  to  learn  of  its  eflScacy,  outside  of  the 
windy  advertisements  in  its  favor.  I  can  point 
to  several  large  cans  which  have  been  "  weighed 
in  the  balance  and  found  wanting,"  as  far  as 
usefulness  is  concerned,  which  are  among  the 
refuse  of  the  paint  shop. 


106     The  Painters'  Manual. 


TO  IMITATE  TORTOISE-SHELL. 

Paint  a  ground  of  salmon  color  ;  then,  when 
dry  and  smoothed  ofif,  coat  it  over  with  rose- 
pink,  mixed  in  varnish  and  turpentine  ;  then 
with  a  flat  piece  of  glass  press  on  the  surface^ 
and  remove  the  glass  quickly,  being  careful  not 
to  slip  it  over  the  paints  so  as  to  disturb  the 
curious  figures  which  the  pressure  will  form 
thereon,  after  the  paint  has  dried  and  been 
varnished,  and  you  will  find  that  you  have 
made  a  very  good  imitation  of  the  tortoise- 
shell. 


KEEPING  ENGLISH  VARNISH. 

I  PREFER  to  keep  English  or  finishing  varnish 
cans  covered  with  a  piece  of  silk,  which  should 
be  tied  over  the  mouth  of  the  can,  instead  of  a 
tight  cork  ;  for  the  reason,  that  extra  var- 
nishes work  better,  and  are  not  so  apt  to 
"  crawl "  or  "  pit,"  if  allowed  to  bo  in  a  can 
from  which  the  gases  may  escape.    This  plan 


The  Painters'  Manual.  107 


is  only  used  on  cans  that  are  in  frequent  usa 
for  if  air  be  allowed  to  get  to  the  varnish  for 
any  great  length  of  time,  it  will  thicken  the 
varnish  and  injure  it.  Great  care  should  al- 
ways be  taken  with  varnish  cans,  for  the  least 
dust  will  be  found  to  show  itself,  when  a  largo 
panel  is  varnished,  and  many  would  be  at  a 
loss  to  account  for  it.  Look  out  for  your 
cansl 


VARNISH  BRUSHES. 

There  will  be  but  seldom  any  occasion  to 
wash  out  a  varnish  brush  in  turpentine,  w^hcro 
care  is  taken  to  clean  the  work  before  applying 
the  varnish.  It  is  injurious  to  the  brush  to 
put  it  in  turpentine,  therefore  wo  should  en- 
deavor to  use  oil  in  cleaning  out,  rather  than 
turpentine.  The  best  way  to  clean  a  finishing 
brush,  if  by  accident  it  becomes  dirty,  is  to  uso 
it  on  a  clean  panel  in  rubbing  varnish  and  oil> 


« 


108     The  Painters'  Manual. 


wiping  off  the  panel  and  repeating  Iho  opcra^ 
tion  until  the  brusli  is  clean. 


PAINTING  ON  CANVAS. 

Bakser  work,  or  painting  on  canvas  and 
muslin,  is  a  particular  job,  for  the  least  mis- 
stroke  will  spoil  the  work.  It  is  always  best  to 
lay  out  the  letters  very  accurately  with  char- 
coal or  crayon,  and  then  saturate  the  cloth  with 
water  to  render  the  painting  easy.  I  find  on 
large  work  that  a  stencil  is  very  useful,  I  take 
a  piece  of  tin,  and  laying  the  straight  edge  to 
the  mark,  brush  over  with  a  sash  tool,  and  by 
that  means  make  a  very  clean-edged  letter. 
Stiff  bristle  pencils,  called  "  fitches  by  houso- 
painters,  are  best  for  canvas  work. 


OIL-CLOTH. 

When  it  is  desired  to  paint  canvas  for  floors^ 
the  canvas  should  be  saturated  with  glue  water. 


The  Painters'  Manual.  109 


or  flour  paste,  and  allowed  to  dry  first.  Then 
paint  it  with  any  color  desired.  To  put  in  the 
figures,  cut  out  designs  in  stiff  paper  and  sten- 
cil them  on,  in  various  colors. 


TO  IMITATE  MARBLE. 

In  painting  to  imitate  white  marble,  get  up 
a  smooth  white  ground,  as  shown  in  previous 
pages.  Then  hold  a  lighted  candle  near  the 
surface  and  allow  the  smoke  to  form  the  various 
shades  and  tints  desired.  This  will  make  a 
very  handsome  imitation,  and  cannot  be 
equalled  with  the  pencil. 

Black  marble  is  made  by  streaking  a  black 
surface  with  colors,  using  a  feather  and  pencil. 
Another  plan  is  to  get  up  a  smooth  black  sur- 
face, then  take  the  colors,  yellow,  green,  red, 
white,  &c.,  ground  thick  in  gold  size,  and 
"  streak "  the  surface  with  a  stick  or  pencil. 
Allow  it  to  dry,  and  apply  a  heavy  coat  of  lanjp- 
black  and  yellow  ochre,  mixed  like  rough  stuff. 


no      The  Painters'  Manual. 


When  all  is  hard,  rub  down  to  a  level  surface 
with  lump  pumice-stone,  varnish,  and  a  beau- 
tiful variegated  marble  will  be  the  result. 


OILING  OR  CLEANING  OLD  CARRIAGE 
TOPS. 

Enamel  leather  tops  should  be  first  washed 
with  Castile  soap  and  warm  water,  then  oiled 
with  neatsfoot  oil,  or  sweet  oil,  and  a  coat  of 
enamel  varnish  put  on.  The  leather  will  look 
like  new. 

Dashes  may  be  cleaned  in  the  same  manner, 
but  varnish  color  is  not  very  beneficial  to  pa- 
tent leather.  However,  when  very  old  and 
cracked,  it  may  be  colored  to  improve  the  ap- 
pearance. 

OLD  SILVER  PLAITING. 

Silvered  work  on  carriages  may  be  improved 

by  the  following  mixture  : 


The  Painters'  Manual.  Ill 


Take  one  ounce  of  nitrate  of  silver,  and  dis- 
solve it  in  one  quart  of  rain  water.  When 
thoroughly  dissolved,  throw  in  a  few  crystals 
of  hyposulphite  of  soda,  which  will  form  a 
brown  precipitate,  but  which  will  be  re-dis- 
solved if  suflSicient  hyposulphite  has  been  em- 
ployed. A  slight  excess  of  this  salt  must  be 
added.  The  solution  thus  formed  may  be 
rubbed  over  the  parts  to  be  silvered. 

A  solution  of  gold  may  be  made  in  a  simi- 
lar way. 

This  silvering  solution  is  not  like  the  com- 
mon silvering  fluids  which  evaporate  in  a  few 
days  and  leave  the  parts  worse  than  before. 


VALUE  OF  THE  SLUSH  TUB. 

The  "  slush  "  or  scrapings  of  the  cups  in  a 
paint  shop  are  valuable,  and  should  be  saved. 
No  better  mixture  can  be  had  for  leaky  roofs. 
And  if  mixed  with  oil  and  run  through  the 


112     The  Painters'  Manual. 


mill,  it  makes  excellent  paint  for  floors  or  bot» 
toms  of  bodies. 


TRANSPARENT  PAINTING  ON  MUSLIN  WIN- 
DOW-SHADES. 

This  art  is  extensively  practiced  in  painting 
screens  and  window  shades.  The  muslin  is 
stretched  on  a  frame  and  secured  by  tacks, 
then  sized  with  a  mixture  of  fine  flour-paste, 
white  glue,  and  white  bar-soap  ;  the  soap 
renders  the  muslin  pliable  and  soffc.  A  thin 
coat  is  applied,  which  is  nearly  invisible  when 
dry. 

A  coat  of  pure  linseed  oil,  diluted  with 
spirits  of  turpentine,  is  then  applied  to  the 
whole,  or  a  part,  as  desired,  laying  it  on 
quickly  and  smoothly  to  ensure  an  even 
transparent  surface. 

The  colors  used  are,  ivory  black,  ultra- 
marine, Paris  green,  verdigris,  umber,  sienna, 
asphaltum,  and  all  other  transparent  colors. 


The  Painters'  Manual.  113 


An  outline  of  tha  design  is  drawn  with 
a  small  pencil  with  black  or  umber,  after 
which  the  colors  may  be  applied,  more  or 
less  diluted,  as  more  or  less  transparency 
is  desired.  In  general,  the  brightest  colors 
should  be  applied  first  and  the  darker  shades 
over  them. 

These  colors  must  be  laid  evenly  and 
smoothly  with  soft  brushes,  and  should  any 
part  be  made  too  dark,  the  best  way  is  to 
scrape  off  with  a  stick  before  the  color  gets 
too  dry.  The  best  designs  for  shades  consists* 
of  landscape  views,  and  should  always  be  de- 
signed to  accommodate  the  form  and  position 
of  the  ground  on  which  they  are  drawn. 

Stencils  will  be  found  useful  on  this  work, 
in  making  corners  or  stripes  for  borders. 

SMALTS. 

Smalts  is  a  finely  powdered  glass,  or  other 
substance,  well  known  in  supply  stores,  and 


114      The  Painters^  Manual. 


of  various  colors.  It  is.  used  on  signs  princi- 
pally.   The  method  of  use  is  as  follows. 

For  a  gold-lettered  sign,  lay  out  on  a  lead 
color  or  white  surface  the  line  of  letters,  and 
roughly  size  the  shape  of  each  letter  mth 
fat  oil  size.  This  must  be  allowed  at  least 
twelve  hours  to  get  tacliy  and  ready  for  gild- 
ing. After  the  gold  leaf  is  laid  and  perfectly 
dry,  mix  up  (for  blue  smalts)  Prussian  blue 
and  keg-lead  with  oil,  adding  a  litfcle  dryer. 
Outline  carefully  around  the  letters,  and 
fill  up  all  the  outside  with  the  blue  paint ; 
then  with  a  small  sieve  sift  on  the  smalts — 
allowing  the  sign  to  lay  horizontally.  Cover 
every  part  with  plenty  of  smalts,  and  allow  it 
to  remain  in  the  same  position  until  the  paint 
is  dry.  Then  carefully  shake  of  the  super- 
abundant smalts  and  the  work  is  completed. 


The  Painters^  Manual.  115 


FLOCKINGS. 

A  FINE  powder  from  cloth  is  also  used 
in  the  same  manner,  and  makes  a  beautiful 
sign. 

Blue  or  light  colored  smalts  may  be  shaded 
upon  with  black  color,  using  a  stiff  bristle 
pencil. 


PEARL  INLAYING,   OR  PAPIER  I^ACHIE. 

A  VERY  handsome  effect  is  given  to  orna- 
mental work  by  inlaying.  Prepare  the  job 
with  a  heavy  coat  of  black  Japan  ;  then  before 
it  is  dry,  procure  some  flakes  of  pearl  at  the 
supply  store,  then  lay  them  on  the  black 
surface,  pressing  them  also  into  the  paint 
until  they  are  level  with  the  surface  ;  then, 
with  colors,  form  vines  and  flowers,  allowing 
the  pearl  to  form  the  body  of  the  flower 
or  leaf,  and  shade  all  up  nicely. 


116     The  Painters'  Manual. 


LIST  OF  CARRIAGE  MAKERS  IN  NEW 
YORK  CITY. 

To  aid  tlie  painter,  when  in  search  of  em- 
ployment, I  add  a  list  of  carriage-makers, 
with  the  firm  conviction  that  my  efforts  in 
their  behalf  will  be  fully  appreciated. 

Adams,  Levi,  2293  Third  Avenue. 

Ashe,  Frank,  163  Crosby  Street. 

Baldwin,  T.  E.,  786  Broadway. 

Barton  &  Boyle,  6  Seventh  Avenue. 

Bates,  S.  E.,  1505  Broadway. 

Beardsley  &  Co.,  110  W.  Thirty-seventh. 

Becker,  E.,  207  Green. 

BeU,  Arthur,  142  E.  Eorty-first. 

Benson,  Bros.,  155  E.  Twenty-third. 

Brewster,  J.  B.,  &  Co.,  65  E.  Twenty-fifth. 

Brewster  &  Co.,  374  Broome. 

Brown  &  Goodwin,  1404  Broadway. 

Campbell  &  McPherson,  100  W.  Thirty-third. 

Cary,  George,  128  W.  Forty-sixth. 

Corbett  &  Scharch,  126  W.  Twenty-fifth. 


The  Painters^  Manual. 


Demarest  &  Woodruff,  628  Broadway. 
Dubois,  A.  J.,  202  Greene. 
Dusenbury  &  Nelson,  Jr.,  98  Laurens. 
Engle,  Henry,  114  Elizabeth. 
Flandrau,  A.  S.,  18  E.  Eighteenth. 
Flandrau,  Wm.,  280  Ninth  Avenue. 
Gedney,  E.  M.,  1413  Broadway. 
Geiger,  L.,  198  Henry. 
German,  Philip,  180  Chrystie. 
Glueck,  Marcus,  23  Third. 
Gray,  W.  H.,  27  Wooster. 
Henry,  Wm.,  158  E.  Fifty-seventh. 
Hicks,  I.  E.,  32  Barclay. 
Jager,  255  W.  Thirty-first. 
Johnson  &  Van  Tassell,  58  Liberty. 
Lawrence,  Jno.  K.,  558  Broadway. 
Lippe,  Jos.,  85  Crosby. 
Lockwood,  Isaac,  2343  Third  Avenue. 
Loos  &  Wilhams,  155  W,  Nineteenth. 
McCready,  Jas.,  437  W.  Thirty-fifth. 
Miller,  Phil.,  337  W.  Fifty-second. 
Miner.  Stevens  &  Co.,  113  E.  Thirteenth. 


118     The  Painters'  Manual. 


Mix,  Eugene,  1402  Broadway. 

Mix,  Isaac,  598  Broadway. 

Monk,  Irvmg,  102  Laurens. 

Moore,  Geo.  J.,  376  Bowery. 

Murphy,  Edward,  225  Greene. 

Pitney,  Jas.  W.,  460  Third  Avenue. 

Pomeroy,  Jos.  H.,  Jr.,  156  Twenty-seventh. 

Eose,  W.  H.,  21  E.  Twelfth. 

Smith,  Edward,  28  E.  Twenty-ninth. 

Smith,  John  I.,  103  W.  Fortieth. 

Smith,  Jos.  L.,  28  E.  Twenty-ninth. 

Stevenson,  Thomas,  124  E.  Thirty-second. 

Stevens,  E.  M.,  148  E.  Thirty-first. 

Sweeney,  Edward,  237  E.  Fortieth. 

Swift,  Charles,  &  Son,  123  W.  Thirtieth. 

Taylor,  Josiah,  59  Cedai. 

Tilton,  B.  W.,  47  Broadway. 

Tuttle,  John  H.,  205  Pearl. 

Voorhis,  Jno.  D.,  Broadway,  cor.  W.  58th, 

Waldron,  J.  Q.,  &  Bro.,  46  Beekman. 

Winans,  W.  H.,  30  Clarke. 

Weiser,  H.,  77  Greene. 


The  Painters'  Manual.  119 


Witty,  Calvin,  168  Crosby. 
Wood,  F.  K,  221  W.  Nineteenth. 
Wood,  Bros.  &  Co.,  740  Broadway. 
Bach,  F.,  73  W.  Thirty-third. 
Bauer,  John,  31  Sullivan. 
Becker,  Frederic,  207  Greene. 
Briling,  Bobert,  123  Broome. 
Buyer,  Edward,  75  First  Avenue. 
Coe,  Jonas  L.,  149  W.  Twenty-eighth. 
Conover  &  Co.,  J.  A.,  130  Horatio. 
Denny,  J.  T.,  551  Seventh  Avenue. 
Fagin  &  Kirk,  608  E.  Sixteenth. 
Fay  &  Bro.,  513  W.  Twenty-seventh. 
Fielding  Bros.,  206  E.  Forty-first. 
Friedgen,  Matthew,  403  W.  Twenty-seventh. 
Gelshon,  Thomas,  13  Downing. 
Haith  and  Becker,  205  E.  Twenty-third. 
Hayman,  Louis,  210  E.  Twenty-fourth. 
Hunt,  W.,  1556  Third  Avenue. 
Jeremiah,  G.  A.,  464  Tenth  Avenue. 
Kettered,  Philip,  90  Thompson. 
:  Kelly,  John,  205  E.  Twenty-fifth. 


120     The  Painters'  Manual. 


Kennedy,  E.,  126  Seventh  Avenue. 
Kumi^f,  Mich.,  &  Son,  308  E.  Thirty-fifths 
Monk  &  Green,  510  E.  Twenty-fourth. 
Moore  &  Manee,  3  Macdougal. 
Prial,  Edward,  18  Ninth  Avenue. 
Kose,  Walton,  164  W.  Eighteenth. 
Schmidt,  John,  43  Leonard. 
Sebastian  &  Saal,  768  Third  Avenue. 
Trautman,  P.,  138  W.  Twenty -ninth. 
TJhl,  John,  505  W.  Thirty-seventh, 
Van  Zandt,  J.  L.,  197  Wooster. 
Weimer  &  Muhler,  31  Kidge. 
"Westerfield,  WiUiam,  77  Prince. 
Williams,  James,  242  E.  Fifty-sixth. 
Williams,  W.  H.,  226  Spring. 
Wolframbe  &  Ellereni,  749  Sixth. 
White,  David,  243  B.  Fifty-sixth. 
F.  B.  Gardner,  Ornamental  Painter,  339 
Forty-eighth. 


The  Painters'  Manual.  121 


MANUFACTURERS    AND    DEALERS    IN  TAR- 
NISHES IN  NEW  YORK. 

William  A.  Andoe,  181  PearL 
Bell  Brothers  &  Co.,  159  Front. 
Brooks  &  Fitzgerald,  West  street,  cor.  Twenty* 
fifth. 

Carey  &  Philips,  427  E.  Twenty-fifth. 

William  Tilden  Blodget,  252  PearL 

Thomas  B.  Brooks,  73  Gold. 

John  Julius  &  Co.,  207  Pearl. 

J.  D.  Gilmore,  260  Pearl. 

M.  W.  Griswold  &  Co.,  249  Pearl. 

William  Harland  &  Son,  57  Cedar. 

Hotopp  &  Co.,  462  CanaL 

F.  S.  Learned,  142  Maiden  Lane. 

Smith,  Baldwin  &  Co.,  110  John  &  425  E.  25. 

Woodbury  &  Co.,  129  Maiden  Lane. 

John  W.  Masury,  111  Fulton. 

A.  G.  Mandel  &  Co.,  179  WilUam. 

Henry  Louis,  378  PearL 

A.  H.  Louis  &  Co.,  143  Maiden  Lane. 


122      The  Painters^  Manual. 


George  L.  Wood,  214  Pearl. 
Edward  Smith  &  Co.,  161  William. 
Kissam  &  Gundaken,  221  Pearl. 
Valentine  &  Co.,  88  Chamber. 


WAGES. 

To  enable  the  workman  to  find  the  amount 
due  him  for  work  from  one  hour  up  to  six  days, 
I  append  the  following  tabular  statement. 

METHOD  OF  USING  THE  TABLE. 

Place  a  finger  of  the  left  hand  on  the  price 
per  day,  say  $3.00,  and  a  finger  of  the  right 
hand,  say  5  days.  Then  moving  the  right  hand 
down  and  the  left  hand  to  the  right,  we  strike 
the  angle,  and  on  that  space  we  find  $15.00  the 
exact  amount  for  5  days.  If  the  amount  be 
required  for  4  hours  extra  time,  at  the  same 
rate  of  wages,  we  examine  the  columns  in  the 


The  Painters^  Manual.  123 


table  headed  "  Amount  of  Wages  per  hour/* 
and  find  at  the  angle  $1.20 — which  added  to 
the  5  days  wages  make  $16.20.  This  is  a  very 
easy  method,  when  once  understood. 


AMOUNT  OF  WAGES  PER  DAY,  OF  TEN  HOURS. 

xis 

6.00 
7.50 

:  9.00 

10.  50 
12.00 

12.  75 

13.  50 
U.25 
15.00 

17.  25 
18.00 

18.  75 
19. 50 
21. 00 
22.50 
24.00 

qatj: 

5.  00 
6. 25 
7.50 
8.  75 
10. 00 
10.  622 
11. 25 
11.872 
12.  60 

14.  372 

15.  00 
15.621 
16.25 
17.5V. 
18.75 
20.  00 

S^-Bp 
JtlOJ 

5.  00 

6.  00 
7.00 
8.  00 

8.  50 

9.  00 
9. 50 

10.  00 

11.  50 
12.00 

12.  50 
13.00 
14.  00 
15.00 
16.  00 

sX^p 
oajqX 

HC<  -let 
O»0OVf5O    .t-W5<NOC2  Ot-I00lf>0 
O                Ui      CI      O       CO      t-      rH       O      «0       0       «      t-      IQ      Ot  O 

S:CbP 

2.  00 
2.50 

3.  00 

3.  50 
4.00 

4.  25 
4. 50 

4.  75 

5.  00 

5.  75 
6. 00 

6.  25 
6. 50 
7. 00 
7. 50 
8.00 

iC^p 

-ic^  HC< 
IfjCOC^rHOOiOOOOt—       Ui      Iti      W>      CO      CO      O  O 
t-O>THCOlOlO«£>t-00  T-t<MCOOOt-0 

-iC^p 

;^           ^           ^^^^  ^ 

0<N10t-00(MOO<MCOO«0(N«at-0 
O«0t-00OOiHrH  lO-iHIOOt-t-OOO 

W5r-(t-COQC0005<MC^»f50CTHt-CO 
(MCOCO-*»AlOOO«C!t-t-t-00000>r-C 

AMOUNT  OF  WAGES  PER  HOUR. 

sjnoq; 

OC1«5t-OrH<NCOW5000r-(C<JW5t-0 
0SrHC0O000>OiH<Ni0t-C00Jr^C0«0 

sjnoq 

OOOOOOOOOOOOOOOO 
00OC<J'>*<«0t-000>OC0'^»0«0<X>OCl 

SJUOTI 
U9A0S 

Ot-U5<MOOqt-<0»OT-(OOOt-«5C30 
t^COOC^^^XOtO      iT"      O      rH      tH               ^      to  00 

sjnoq 

^ 

0»OQ100t-lO<MOC^OtrOO»00 

O<Ni0t-OOC?00U5C0OOCJWt-O 
OOt-OOOOiHiHCS  -^lOOCOt-QOO 

sjuoq 
jnoj 

OOC5OO10OU0OOOW5OOOO 
■^H»0«0t-C0C00>0SOiH<M<MC0  -<*U5«0 

sjnoq 

Ot-li0CSOC0t-TH»0«0OC0t-l0C^3 
C0C0"<i<U3«0«0Ot-t-C00>0>0>Or-(CS 

rH  tH 

sjnoq 

OAVJ^ 

I        ^                ^                ^  M\ 
CiJ<MCOCO"*"^-«i<-x!KOO«OOOt'-t-CO 

Jiioq 

QUO 

0<M»«t-OrH(MCO«5000THC110b-g 
rHrHrHrH(MC^Cfl<MC1C^COeOC>0       CO,    CO  ""i^ 

GOTJd  JO 

JO  Q^vyi 

OC^«3t-OrHC^CO»OOOOrHCl  WC^O 

f 


INDEX. 


PAOB 

7 

8 

11 

Fitch-hair  Brushes . . . 

13 

15 

To  make  Flat  Pencils. 

15 

16 

Ornamenting  Pencils. 

17 

Lettering  Pencils .... 

17 

18 

19 

Tube  Colors  

20 

22 

23 

24 

26 

27 

Combination  of  Colors 

28 

Carriage  Painting .... 

30 

TkQM 


Foundation  Coats. . . . 

30 

32 

34 

Putty  

35 

36 

37 

Coloring  Carriage  Part 

38 

39 

41 

44 

48 

Painting  Coaches,  &c. 

49 

51 

Glazing  

52 

53 

Scotch  Plaid  Work. . . 

54 

Ornamenting  

55 

59 

126 


Index. 


PAGE 


Laying  Gold  Lead. . . 

61 

Bronzing.  

62 

Painting  Business 

64 

DD 

RemoYing  Old  Paint. 

67 

70 

71 

Oils  

72 

72 

To  Copy  an  Ornament 

76 

Varnish  for  Pictures.. 

75 

Paper  for  Tracing. . . , 

77 

77 

PAQB 

Preserving  Ornaments  78 


Lettering   79 

Scrolling   90 

Stenciling   91 

Transferring   95 

Staining   96 

Appendix   97 

Eeceipts,  etc   99 


List  of  Carriage  Ma- 
kers in  New  York. .  116 

Manufacturers  and 
Dealers  in  Yamish 
in  New  York   121 

Beady  Beckoner. ....  124 


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21  Locality. 

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34.  Tune. 

35.  Language. 

36.  Causality. 

37.  Comparison. 

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D.  Suavity. 


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now  in  its 6fth  volume,  has  a  larcre  circulation,  and  Is 
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